IMPORTANT PAINTINGS & CONTEMPORARY ART
Important Paintings & Contemporary Art Tuesday 11 April 2017, 6.30pm
— Pg. 3
MOSSGREEN-WEBB’S AUCTION HOUSE
Board of Directors Jack Gringlas (OAM) Chairman Charles Leski Deputy Chairman Paul Sumner Chief Executive Officer
Specialist Enquiries
Sophie Coupland 022 510 8766 sophie.coupland@mossgreen-webbs.co.nz Briar Williams 027 345 6765 briar.williams@mossgreen-webbs.co.nz
Collections and Shipping
Kate Srzich 09 524 6804 kate.srzich@mossgreen-webbs.co.nz
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Viewing Evening Preview Monday 3 April
6.00pm – 8.00pm
Thanks to Amisfield for wines and to Non Solo Pizza for catering
Viewing Tuesday 4 April
9.00am – 5.30pm
Wednesday 5 April
9.00am – 4.00pm
Thursday 6 April
9.00am – 5.30pm
Friday 7 April
9.00am – 5.30pm
Saturday 8 April
11.00am – 4.00pm
Sunday 9 April
11.00am – 4.00pm
Monday 10 April
9.00am – 5.30pm
Tuesday 11 April
9.00am – 12.30pm
Lot 6 Peter Madden The Disappearing $6,000 — $8,000
Buyer's Premium A buyer's premium of 17.5% will be charged on all items in this sale. GST (15%) is payable on the buyer's premium only.
FRONT COVER
Lot 30 Charles Frederick Goldie Ka ra te wera or A Hot Day $280,000—$380,000 — Pg. 5
MOSSGREEN-WEBB’S AUCTION HOUSE
Charles Frederick Goldie
Lot 34 Charles Frederick Goldie Ka Pai Te Kai Paipa $500,000—$700,000
Resene Innocence
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Lot 30 Charles Frederick Goldie Ka ra te wera or A Hot Day $280,000—$380,000
— Pg. 7
MOSSGREEN-WEBB’S AUCTION HOUSE
Elizabeth Rankin discusses two exceptional works by Charles Frederick Goldie in this catalogue
Elizabeth Rankin is a Professor Emeritus Art History Dept, Auckland University.
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ABOVE
Goldie and his model Pātara Te Tuhi enjoying a cup of tea in the studio, photographed in 1901 by R. Love of Edwards' Studio (from the album Maoriland Photographs, Mitchell Library, State Library of New South Wales, Sydney). Image credit: Goldie, Roger Blackley, Auckland Art Gallery, 1997.
IMPORTANT PAINTINGS & CONTEMPORARY ART
“Goldie is New Zealand’s ‘Old Master’”—so writes Roger Blackley
a dispirited dying race: a concept widely entertained at the time,
in the comprehensive catalogue for the Goldie exhibition mounted
despite rising census figures. This perspective also earned the artist
by Auckland Art Gallery Toi o Tāmaki in 1997. The term ‘Old
animosity from some scholars.3
1
Master’ implies many things. It suggests work made in the distant past; given the relatively short duration of New Zealand’s settler culture, Goldie can be counted amongst the early New Zealandborn Pākehā artists, even if few enough of his paintings were made before the 20th century. The term also indicates a certain style of work—invariably naturalistic and always executed with great skill—and Goldie’s superlative realism and painterly expertise fit that requirement perfectly. He developed a distinctive technique, with enlivening brushwork featuring in his underpainting while the surface detail of his paintings is meticulously applied with fine brushes.2 But, above all, ‘Old Master’ evokes esteem and here, too, there is a neat match for Goldie. Despite the fact that his traditional style may have alienated modern art aficionados, he has always enjoyed popular admiration and exhibitions like the 1997 one, together with renewed scholarly interest, have added to his status. He has also been accorded an additional layer of regard—one might almost say reverence—by Māori, who value his work as a record of their ancestors: a visual whakapapa. This was an aspect brought home at an exhibition 10 years earlier at the Auckland Art Gallery, when Goldie portraits were displayed to complement the taonga of the prestigious Te Maori exhibition in 1987. So who was this artist who merits the title of New Zealand’s ‘Old Master’ on so many counts? Charles Frederick Goldie (1870–1947) was born in Auckland to a well-to-do family and already showed talent as a schoolboy when he won art prizes. He studied here with
But while it is clear that Goldie used his sitters as types, rather than thinking of them as portraits, we should be wary of too hastily categorising his work as mere patronising, colonial representations because there are many works that challenge this definition, including the two paintings included in this auction. Te Hei has a keen sense of agency as she gazes quizzically at us4 and her Western clothes and those of the unidentified boy in A Hot Day may, in fact, suggest that Goldie believed that Māori would not die out but be assimilated into Pākehā culture. It was an idea with which he would have been familiar as it was discussed by his brother William in an article, ‘The Destiny of the Maori Race’, in the New Zealand Herald Supplement of 18 May 1901.5 Whatever his motives, Goldie painted a very large number of Māori subjects in the first two decades of the 20th century. The works were complemented by distinctive black wooden frames, made to Goldie’s design, which served to pick out his paintings for art critics and buyers amidst crowded ‘wallpaper’ hangs in galleries at the time. These were not commissioned works: Goldie employed these men and women as sitters in his studio, often emphasising their ethnicity by having them wear traditional cloaks and greenstone ornaments that he owned. Yet, although they were being presented as Māori characters, he observed them closely, often returning to the same preferred sitter.6 Hence the inherent paradox of his works reading as both types and individuals.
Louis John Steele and then went to the Académie Julian in Paris
After two highly productive decades, Goldie hardly painted in the
in 1893, returning to Auckland in 1898. While the large work, The
1920s as he suffered ill health. But when he took up his art again in
Arrival of the Maoris in New Zealand, produced together with Steele
the 1930s, it was to international recognition, with works exhibited
that year, demonstrates some aspirations to be a history painter in
in Paris and London attracting attention,7 and continuing support in
the grand manner, Goldie made his name as a portraitist or, more
New Zealand. It is hardly surprising then, that he deployed the same
precisely, as a painter of character studies of Māori. He favoured
painstakingly delineated subject matter and, indeed, often the same
elderly Māori as subjects, possibly because they had moko, which
subjects, working from earlier drawings and photographs. Although
he reproduced scrupulously. But it seems he also selected them
modernism was in full swing and gaining increasing recognition in
as affective subjects, embodying a past that was fading. This is
New Zealand, Goldie’s consummate verisimilitude continued—and
reflected in their rather sentimental titles, as well as in the way that
still continues—to impress.
many are shown in reverie with downturned eyes and introspective
ELIZABETH RANKIN
expressions, or even asleep. Goldie’s works were much admired for this sense of melancholy that seemed to evoke the idea of Māori as
1 Roger Blackley, Goldie, Auckland Art Gallery, 1997, p. 2. 2 Goldie’s technique is described fully by David Wise in Blackley, 1997, p. 121–126. 3 See, for example, Michael King’s ‘The Maori and C.F. Goldie’, in Alister Taylor and Jan Glen, C.F. Goldie 1870–1947: His Life & Painting, Martinborough, 1977, pp. 151–157, which also discusses Goldie’s unique records of moko.
4 See also Len Bell’s discussion in ‘Looking at Goldie: Face to Face with “All ’e Same T’e Pakeha”’, in Nicholas Thomas and Diane Losche, eds., Double Vision: Art Histories and Colonial Histories in the Pacific, Cambridge University Press, 1990, pp. 163–189. 5 Blackley, 1997, p. 51. 6 For discussion of some of his favourite sitters, see Taylor and Glen, 1977, pp. 132–150. 7 Blackley, 1997, p. 34. — Pg. 9
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Peter Simpson on Leo Bensemann
LEFT Lot 26 Leo Bensemann Portrait of Lawrence Baigent $10,000 — $15,000
RIGHT Lot 25 Leo Bensemann Self Portrait—Grey Coat $18,000 — $25,000 Pg. 12 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
TOP Portrait of Lawrence Baigent (c. 1939), illustrates Bensemann's renaissance style portraiture. Collection of Christchurch Art Gallery.
ABOVE Canterbury Landscapes such as The Track (1981) were favoured vistas as travel became difficult toward the end of Bensemann's life. Alex Baird Art Collection, Christchurch.
Coincidentally, the three works by Leo Bensemann (1912–1986) included in this catalogue span almost the whole of his 50-yearplus career from the 1930s to the 1980s. The two early works— Self-Portrait and Lawrence Baigent are portraits, while Te Tara-ote-Rakitiaia (Summit Road Peak and Southern Alps) (1985), one of his very last, is a landscape. This is significant because, broadly speaking, early on, Bensemann was largely a portrait painter who turned to landscape only much later. His career might be described as a ‘game of two halves’—mostly portraits in the 1930s, 1940s and 1950s, and landscapes in the 1960s, 1970s and 1980s. To put some flesh on the bones of this sweeping generalisation, in the early 1930s, Bensemann had painted exquisite, Japaneseinfluenced landscapes in watercolour but he dropped this activity once he took up portraiture in oils around 1935. Apart from a few stray examples, he avoided landscape painting until the 1960s and this set him apart from his contemporaries in The Group (which he joined in 1938) such as Olivia Spencer Bower, Rita Angus, Toss Woollaston and others, all of whom regularly exhibited landscapes. When he did resume landscape painting later, partly through his
close association with Doris Lusk, who accompanied him on painting trips throughout the South Island, he did not entirely relinquish portraiture but continued producing occasional outstanding portraits to the end of his life. Bensemann’s early development as a portraitist is bound up with his lifelong friendship with Lawrence Baigent. They lived in the same street in Nelson, attended Nelson College and moved to Christchurch together in 1931: Baigent to attend university, Bensemann to a long spell of art-making and unemployment in those Depression years. When Baigent’s mother (who provided a home for both) died in 1937, they continued flatting together, moving in early 1938 (the year Bensemann jointed Caxton Press as a printer) to a studio flat at 97 Cambridge Terrace where they shared facilities with Rita Angus, who was already in residence. Portraiture flourished in that intimate environment with Angus and Bensemann painting each other, themselves and Baigent on numerous occasions. The two men continued living there until Bensemann’s marriage in 1943.
— Pg. 13
MOSSGREEN-WEBB’S AUCTION HOUSE
Bensemann seldom dated his early portraits, including these two. Nevertheless, it is probable that his moodily handsome Self-Portrait, one of several from the late 1930s, dates from 1936 or 1937, shortly before they moved to Cambridge Terrace, while the intense portrait of Baigent probably dates from around 1939 or 1940. Between 1936 and 1948, Bensemann painted Baigent on no fewer than 12 occasions. The frequency of these portraits undoubtedly signifies the closeness of their friendship but also the convenience for a portraitist of having a live-in model. They are remarkable for their variety; some are ‘straight’ likenesses but, in others, Bensemann uses his friend as a kind of ‘prop'—for studies in surrealism, or Renaissance portraiture, such as the portrait illustrated onthe previous page from the 1930s, or some other style. The portrait in this catalogue is an exercise in expressionism; the sitter’s expression is almost demonic, like a character out of Dostoevsky— an impression heightened by the slashing lines of the background and the scarlet highlights in his hair and clothing.
When he eventually turned seriously to landscape after 1960, Bensemann sought out subjects in Central Otago, the West Coast, and especially Takaka and Golden Bay (where he had lived in childhood). However, increasingly in his last years, as illness limited his capacity for travel, he found his subjects closer to his home on Huntsbury Hill in the Port Hills, which had breathtaking views across the plains to the Southern Alps—such as the work in this catalogue and The Track (1981) illustrated on the previous page. A point of connection between landscapes and portraits is that Bensemann often singles out a natural feature, such as a striking rock formation, of which his painting becomes a kind of ‘portrait’; this is the case with the conical peak in Te Tara-o-te-Rakitiaia (Summit Road Peak and Southern Alps). A rare opportunity to see a range of Bensemann’s portraits, together with those of his contemporaries, is the exhibition Leo Bensemann & Friends: Portraiture and The Group, curated by Peter Simpson, at the Wallace Arts Centre, Pah Homestead, 13 April – 28 May 2017. PETER SIMPSON
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Lot 27 Leo Bensemann Te Tara-o-te-Rakitiaia (Summit Road Peak and Southern Alps) $15,000 — $20,000
IMPORTANT PAINTINGS & CONTEMPORARY ART
Exhibition: Christchurch Modernists, Family Archives
Artworks & Ephemera from the families of Leo Bensemann & Rita Angus 4 – 13 April 2017 Preview Evening Monday 3 April 6.00pm–8.00pm
In Christchurch during the interwar years, artists Rita Angus and Leo Bensemann, and their circle of friends, lived around Cambridge Terrace and worked in unison to break away from traditional conventions and structures, seeking to reinterpret the world around them. Based on the archive of Jean Jones, Rita Angus’ sister and members of Bensemann's family, this exhibition will present works by Rita Angus and by Leo Bensemann, alongside Jean Jones’ own drawings and sculptures. Also included are artworks of the period and art related ephemera from these two historically important family archives. This exhibition can be viewed alongside the Important Paintings & Contemporary Art sale in this catalogue. See viewing times on page 3. Contact Jessica Pearless | 09 524 6804 jessica.pearless@mossgreen-webbs.co.nz
Rita Angus The Flute Player woodcut
— Pg. 15
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The Art Capers Buying Collective
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IMPORTANT PAINTINGS & CONTEMPORARY ART
The Art Capers Buying Collective is presented in this catalogue, with all works from the collection marked with provenance. If we accept that art is a common cultural entity, it follows that, as a community, we hold a degree of collective responsibility towards its advancement and appreciation. In this spirit, it is not surprising that the appeal of art buying collectives has grown steadily over the past two decades. These collectives have proven the efficacy of a collaborative and community-based approach to art.
Lot 1 Sam Mitchell Glam $4,000 — $6,000
The Art Capers buying collective was formed in Auckland in 2007. The group was motivated by a common desire to learn more about contemporary New Zealand practice and broaden the artistic horizons and experiences of its members. At the time of the group’s foundation, it comprised what it described as “an eclectic mix of 15 couples with diverse personalities and artistic tastes”. At its core, the concept of a buying collective is governed by the same principles of cultural collaboration as those which underpin artist collectives. In addition to the financial liberty afforded by pooled resources, there is immense value in the experience of being able to draw on the support of, and be challenged by, like-minded individuals. Seeking to maximise its discovery and appreciation of contemporary art, Art Capers established a social committee, which shared the task of exploring galleries, institutions and public art around the region, in addition to organising and attending a diverse number of art-related talks and events. As a result, the group has accrued significant educational value to the development of the members’ own personal tastes, as well as to the
purchasing of art for the collective. One member describes how “as the years went by, the tastes of the group matured as we educated and exposed ourselves to more styles. A common sentiment in the group was that first perspectives of an artwork can easily change once you’ve lived with it on your wall for a few months.” One standout work that members of Art Capers have been fortunate to appreciate from the walls of their own homes is a painting by Michael Harrison, Mistress of the Hounds. This is an exquisitely rendered scene: a dream-like portrait whose compositional grace and delicate handling of line and colour represent the very finest of the artist’s practice. Sam Mitchell’s Glam is another iconic work to have been acquired by the group. It is painted onto the surface of Mitchell’s signature perspex medium, and the artist has woven a tapestry of pop-cultural and art-historical references to make for an alluringly psychedelic, charming and witty portrait of Cher. A painting by Gavin Hurley, His Brains, captures the playful seriosity of the artist’s approximated tradition of portraiture. Herein, the tension — Pg. 17
MOSSGREEN-WEBB’S AUCTION HOUSE
LEFT
Lot 15 Michael Harrison Mistress of the Hounds $3,000 — $5,000
RIGHT
Sally Wrapson and Angela Eastwood from The Art Capers buying collective
FAR RIGHT
Lot 18 Max Gimblett Enso $4,000 — $6,000
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between crispness of form, Hurley’s collage-like composition and the texturality of linen plays out wonderfully. A number of well-established names from within our contemporary narrative are also represented across the Art Capers collection; Max Gimblett’s Enso is a classic work by the artist which embodies ideals of perfection and enlightenment through the zen-like expression of the calligraphic circle. These stand alongside other notable works, including Peter Madden’s beautiful collage on perspex, The Disappearing, a confectionary-like, collapsed and puffed canvas by Miranda Parkes, two interiors showing Oceanic and tribal arts by Graham Fletcher and a three part work on aluminium by Sara Hughes.
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 19
MOSSGREEN-WEBB’S AUCTION HOUSE
A2 Art Entries Invited 14 June 2017
Presenting editions, paintings, sculpture and works on paper by leading contemporary, modern and historical New Zealand artists as well as European and other international works. Entries are now invited. To discuss consignment into this sale, please contact Briar Williams.
CONTACT
Briar Williams Art Department Manager P 027 345 6765 E briar.williams@mossgreen-webbs.co.nz Pg. 20 —
Peter Stichbury Heather Traymont Giclee print, edition of 50 $3,000 — $5,000
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 21
MOSSGREEN-WEBB’S AUCTION HOUSE
The Warwick & Kitty Brown Collection 17–18 May, 2017 Insights into a life of art: Warwick Brown discusses his collection
Public Programme
Having dedicated 50 years to the creation of this unique collection with his wife Kitty, Warwick Brown is equally enthusiastic about sharing it with a wider audience. He will be participating in a programme of events and is personally accompanying the highlights of his collection on tour, attending each of the exhibition preview evenings.
Thursday 27 April
Warwick will be sharing his insights and personal recollections about the acquisition of works in the collection and the heady environment in which it was formed: New Zealand’s nascent contemporary art scene. In Christchurch, Wellington and Auckland he will be giving a presentation about the collection, complete with current and archival images, followed by a discussion and Q&A. You are warmly invited to attend these public programme presentations.
Christchurch 6.00pm – 8.00pm Philip Carter Auditorium Christchurch Art Gallery Corner Worcester Boulevard and Montreal Street Christchurch Central
Wellington Wednesday 3 May 6.00pm – 8.00pm
Adam Auditorium City Gallery Wellington Civic Square 101 Wakefield Street Wellington Central
Auckland
Sunday 14 May 1.00pm – 3.00pm
CONTACT
Sophie Coupland Director, Fine Art P 022 510 8766 E sophie.coupland@mossgreen-webbs.co.nz Pg. 22 —
Mossgreen-Webb’s 23–25 Falcon Street Parnell Auckland Central
IMPORTANT PAINTINGS & CONTEMPORARY ART
Viewings Christchurch
Evening Viewing with Warwick Brown in attendance Friday 28 April, 6.00pm – 8.00pm Viewing Thursday 27 April, 10.00am – 5.30pm Friday 28 April, 10.00am – 8.00pm Saturday 29 April, 10.00am – 4.00pm Location Nadene Milne Gallery 10 Bath Street Christchurch Central
Wellington
Evening Viewing with Warwick Brown in attendance Thursday 4 May, 6.00pm – 8.00pm Viewing Thursday 4 May, 10.00am – 8.00pm Friday 5 May, 10.00am – 5.30pm Saturday 6 May, 10.00am – 4.00pm Location Suite Gallery 241–243 Cuba Street Wellington Central
Auckland
Preview Evening with Warwick Brown in attendance Tuesday 9 May, 6.00pm – 8.00pm Viewing Wednesday 10 May, 9.00am – 5.30pm Thursday 11 May, 9.00am – 5.30pm Friday 12 May, 9.00am – 5.30pm Saturday 13 May, 11.00am – 4.00pm Sunday 14 May, 11.00am – 4.00pm Monday 15 May, 9.00am – 5.30pm Tuesday 16 May, 9.00am – 5.30pm Wednesday 17 May, 9.00am – 12.30pm Location Mossgreen-Webb’s 23–25 Falcon Street Parnell Auckland Central
— Pg. 23
IMPORTANT PAINTINGS & CONTEMPORARY ART
Collectors’ Cars, Motorcycles & Automobilia
Entries Invited 18 June 2017
The record-breaking auction of The Roy Savage Collection of Classic Cars launched Mossgreen-Webb’s into the New Zealand market for collectors' cars achieving nearly $1.5 million and resulting in 138% sold by value. We are now inviting consignments for an auction to take place in Auckland.
If you are considering selling, please contact Ian Nott for a complimentary auction valuation and to discuss consignment into the forthcoming auction.
CONTACT
Ian Nott Consultant, Collectors' Cars, Motocycles & Automobilia M 021 610 911 E motoring@mossgreen-webbs.co.nz
ABOVE
1971 Ferrari Dino 246 GT Berlinetta Coupe Achieved: $546,250. Mossgreen Collectors’ Cars, Motorcycles & Automobilia Auction, 27 November 2016 — Pg. 25
MOSSGREEN-WEBB’S AUCTION HOUSE
Decorative Art Collections Now Consigning June 2017 After the success of the House of Michelini Collection in March, where 84% of lots sold and 123% sold by value, we are pleased to announce a further sale of Decorative Art Collections. Entries are now invited for the June auction which will comprise of collections of decorative arts covering a wide array of periods and styles from early-European antiques to pieces of mid-20th century modernist design, including furniture and furnishings, such as mirrors, clocks, rugs, ceramics, porcelain, silver and oriental porcelain. Contact James Hogan for a complimentary auction appraisal and to discuss consignment.
CONTACT
James Hogan Single-Owner Collections P 09 524 6804 M 021 510 477 E james.hogan@mossgreen-webbs.co.nz Pg. 26 —
A Superb Mid-Nineteenth Century Two-Doored Display Cabinet Estimate: $6,000 — $8,000
IMPORTANT PAINTINGS & CONTEMPORARY ART
Single-Owner Collections
Forthcoming Auctions
The Warren Boundy Collection: Online Now Closing 5 April, 6pm An online-only auction offering antiques, modern design and art that has formerly dressed various lodges in the Ruapehu area. Bid now at mossgreen-webbs.co.nz.
Bill Hammond Volcano Cafe, Advertising Poster (detail), 760mm x 600mm, $200 — $400
A Private Collection of Moorcroft Pottery Featuring exclusively pre-1945 pieces, including rare examples of early McIntyre, Florian Ware, Moonlit Blue, Claremont, Eventide, Flambé and Dawn patterns.
A Moorcroft 'Claremont' Pattern Potpourri, 1912
An Archive of Richard Parker's Work: June 2017
A survey collection of Richard Parker's ceramic practice. A defining figure in New Zealand ceramics, Parker has developed his own ceramic vocabulary with works that are uniquely recognisable.
Striped Winged Vase, 2006 — Pg. 27
MOSSGREEN-WEBB’S AUCTION HOUSE
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Fine & Rare Wines
Forthcoming Auctions The Cellar of a Connoisseur 2 May, 6.00pm
Single-vendor auction specialising in aged wines from Bordeaux.
Fine & Rare Wines 3 May, 6.00pm
Mixed-vendor auction of international and New Zealand wines.
The Cellar of a Herne Bay Restaurant Online Auction: 26 – 31 May Single-vendor auction from an iconic Herne Bay restaurant.
CONTACT
Reece Warren Head of Fine & Rare Wines
With a combination of live and online auctions we have a variety of bidding options, whether you wish to attend the auction or bid from the privacy of your own home or office. Excellent wines from Bendigo to Burgundy, Marlborough to Montrachet, Central Otago to the Central Vineyards of Loire will be presented in May. Our auctions include great wines of the world at excellent prices. Whether you wish to consign or purchase, Reece Warren is available to assist and provide advice.
P 09 524 6804 M 021 465 554 E reece.warren@mossgreen-webbs.co.nz — Pg. 29
MOSSGREEN-WEBB’S AUCTION HOUSE
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Jewels in June We are now inviting entries of jewellery and watches for 'Jewels in June'. A two-part sale, this auction will feature fine jewellery and watches, designer handbags, luxury goods and a selection of affordable jewels and watches.
Entries Invited 25 June 2017 To obtain an auction estimate or to arrange an appointment for a confidential appraisal, please contact Patti Sedgwick.
CONTACT
Patti Sedgwick Head of Jewellery P +61 3 9508 8831 M +61 411 412 364 E patti.sedgwick@mossgreen-webbs.co.nz — Pg. 31
MOSSGREEN-WEBB’S AUCTION HOUSE
ARSENALE TESE DELL’ISOLOTTO May 13 – November 26, 2017 www.nzatvenice.com
Mossgreen-Webb’s is delighted to support New Zealand’s presentation of Lisa Reihana: Emissaries at the Biennale Arte 2017 and we wish Lisa and the New Zealand at Venice team every success.
Project Leader
Pg. 32 —
K y Partner Ke
Presenting Partner
Supporters
Supporting Sponsors
Hospitality Sponsor
IMPORTANT PAINTINGS & CONTEMPORARY ART
The John Fisher Collection of Aviation History Mossgreen Australia will offer the collection of entrepreneur, pilot, philanthropist and avid aviation collector, John Fisher. Catalogue online at mossgreen.com.au
Forthcoming Auction 30 April 2017 Viewing
Auction
Maryborough Airport Leviathan Road Maryborough VIC 3465 Friday 28 – Sunday 30 April 2017
Sunday 30 April 2017, 12.00pm Maryborough Cafe Gallery Maryborough Railway Station Station Street Maryborough VIC 3465
John Fisher lived a full and exceptional life. His greatest achievement was his epic solo journey from London to Sydney by Tiger Moth in 1996. To fly a 55-year-old wood and canvas structure 12,000 miles, across 3 continents, single-handedly was a brave and extraordinary accomplishment for someone whose flying experience (in aeroplanes) had begun only a few years earlier. John’s passion for aviation and his interest in aeroplanes culminated in the resolution to build a private air museum. He travelled the world, buying parts, aircraft and collectables to make his dream a reality. Tragically, John Fisher and passenger, David Oxley, were killed in 2012 when his Tiger Moth experienced a power failure during take-off from the Maryborough aerodrome. Highlights in this auction include a de Havilland Vampire DH 100 FB 9, a Chipmunk DHC-1, Tiger Moth and Jackaroo restoration Projects, an Auster J5G Autocar, Gipsy engines and parts, a miniature Victoria Cross, a Bofors 40mm Anti-Aircraft Gun, a Supermarine Spitfire MKV Instrument Panel, a Kamikaze knife and headband and a rare collection of flying helmets, uniforms, posters, print and wartime correspondence and a significant aviation library. For more information on this unique single-owner sale, please contact Deanna Baxter. To view the catalogue online, visit mossgreen.com.au.
CONTACT
Deanna Baxter P +61 (0) 488 187 717 E deanna.baxter@mossgreen.com.au — Pg. 33
MOSSGREEN-WEBB’S AUCTION HOUSE
Lot 24 Michael Parekowhai The Moment of Cubism $25,000—$35,000 Pg. 34 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Important Paintings & Contemporary Art Tuesday 11 April 2017, 6.30pm
— Pg. 33
MOSSGREEN-WEBB’S AUCTION HOUSE
1. Sam Mitchell Glam acrylic on perspex, 2011 inscribed 'Glam', signed Sam Mitchell and dated 2011 — Jan. Alk — NZ in brushpoint verso, original Melanie Roger Gallery label affixed verso 595mm x 597mm $4,000 — $6,000 PROVENANCE Art Capers Collection.
2. Graham Fletcher Situation Rooms oil on paper original Melanie Roger Gallery label affixed verso 760mm x 1115mm $3,500 — $4,500 PROVENANCE Art Capers Collection. Purchased Melanie Roger Gallery, Auckland 2012.
Pg. 34 —
3. Graham Fletcher Sewing Room oil on canvas, 2012 inscribed The Sewing Room and dated Oct 2012 in ink verso signed G Fletcher 350mm x 280mm $2,000 — $3,000 PROVENANCE Art Capers Collection. Purchased Melanie Roger Gallery, Auckland 2012.
IMPORTANT PAINTINGS & CONTEMPORARY ART
4. Yoshiko and Shintaro Nakahara Where Do Clouds Go ink and acrylic on canvas signed Nakahara Yoshiko in brushpoint lower right 760mm x 1015mm $3,000 — $4,000 PROVENANCE Art Capers Collection. Purchased Sanderson Contemporary Art, Auckland, 2009. EXHIBITED Double Vision: When Artists Collaborate, Pātaka Art + Museum, Wellington, 2010.
5. Lianne Edwards 30c Silvereye used postage stamps, Bird definitive, first issued 1988, stamp hinges and insect pins, 2010 signed L Edwards and dated '10 in graphite lower right 745mm x 970mm $4,000 — $6,000 PROVENANCE Art Capers Collection.
6. Peter Madden The Disappearing found images, watercolour and resin on perspex 990mm x 990mm $6,000 — $8,000 PROVENANCE Art Capers Collection.
— Pg. 35
MOSSGREEN-WEBB’S AUCTION HOUSE
7. Paratene Matchitt Farmer oil on board, 1964 signed Para Matchitt and dated 8/64 lower left, John Leech Gallery label affixed verso 572mm x 740mm $7,000 — $10,000
8. Richard Killeen Natural and Unnatural Selection watercolour, 1984 signed Killeen, inscribed Natural & Unnatural Selection and dated 7.84 in watercolour lower centre 760mm x 570mm $4,000 — $6,000
9. Terry Stringer Shelf Still Life with Plant in a Vessel cast bronze and timber, editon 4/5, 1988 wall-mounted, signed Terry Stringer, dated '88, editioned 4/5, incised into bronze, T.S monogram stamped into bronze 245mm x 555mm x 355mm $4,000 — $6,000
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IMPORTANT PAINTINGS & CONTEMPORARY ART
10. Andrew McLeod Drawing for Grafton gouache on archival inkjet, 2005 signed Andrew McLeod and dated 2005 lower right in ink, inscribed Drawing for Grafton in ink lower left 315mm x 435mm $3,500 — $4,500
11. Kushana Bush Love and Rope 14 watercolour, gouache and pencil on paper, 2009 signed Kushana Bush, titled Love and Rope 14 and dated 2009 in graphite verso, Brett McDowell Gallery Dunedin gallery label affixed verso 283mm x 187mm $2,500 — $4,500
12. Dick Frizzell Tiki gouache on paper, 1990 signed Frizzell lower centre, title inscribed lower left, dated 6/9/90 lower right; Gow Langsford gallery label affixed verso 195mm x 195mm $1,500 — $2,500
PROVENANCE Purchased Brett McDowell Gallery, Dunedin.
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13. Gavin Hurley His Brains II oil on linen, 2012 initialled GJH, inscribed His Brains II and dated 2012 verso 710mm x 550mm $5,000 — $8,000 PROVENANCE Art Capers Collection. Purchased Melanie Roger Gallery, 2013.
14. Andrew Barns-Graham Stella acrylic on canvas, 2010 signed A. Barns-Graham in brushpoint lower left; inscribed Stella, signed Andrew BarnsGraham and dated 2010 verso 1005mm x 755mm $3,500 — $5,500 PROVENANCE Art Capers Collection. Pg. 38 —
15. Michael Harrison Mistress of the Hounds watercolour on paper, 1991 signed M.C Harrison and dated 1991 in graphite lower centre 200mm x 175mm $3,000 — $5,000 PROVENANCE Art Capers Collection. Purchased Ivan Anthony, 2011.
IMPORTANT PAINTINGS & CONTEMPORARY ART
16. Sara Hughes Love Me Sweet, 10 acrylic on three aluminium panels, 2011 signed Sara Hughes, inscribed Love Me Sweet and dated 2011 in ink on label affixed verso on each panel, with artist's travelling case, hanging instructions and the catalogue Sara Hughes Love Me Tender, Software for Ada Digital Moscaice, Hocken Library, 2004. 230mm x 590mm, 130mm x 500mm, 170mm x 350mm $4,000 — $6,000 PROVENANCE Art Capers Collection.
17. Miranda Parkes Landscaper acrylic on bunched canvas, 2009 signed Parkes and dated 2009 verso 370mm x 460mm x 180mm $3,000 — $4,000 PROVENANCE Art Capers Collection. Purchased Antoinette Godkin Gallery, Auckland, 2011.
18. Max Gimblett Enso sumi ink on thai square patterned paper, 2011 signed Max Gimblett and dated 2011 lower right in ink, artist's chock mark stamped lower right, original Nadene Milne Gallery label affixed verso 790mm x 560mm $4,000 — $6,000 PROVENANCE Art Capers Collection.
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19. Julian Dashper Untitled vinyl on drumskin 580mm diameter $12,000 — $18,000 PROVENANCE Purchased Hamish McKay Gallery, Wellington. Pg. 40 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
20. Julian Dashper Untitled vinyl on drumskin 580mm diameter $12,000 — $18,000 PROVENANCE Purchased Hamish McKay Gallery, Wellington. — Pg. 41
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21. Don Binney Mana 15 oil pastel on paper, 1970 signed Don Binney, dated 3 – 4 March 1970, inscribed Mana 15 in oil pastel upper right 770mm x 1220mm $15,000 — $20,000
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IMPORTANT PAINTINGS & CONTEMPORARY ART
22. Garth Tapper The Young Nun oil on board, 1970 signed Garth Tapper and dated '70 in brushpoint lower right, Ferner Galleries label affixed verso, John Leech Art Dealer label affixed verso 1205mm x 1455mm $28,000 — $35,000 ILLUSTRATED Garth Tapper, New Zealand Painter by P. William Tapper and Elva Bett, Tapper Art 1998, p. 53.
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23. Charles Tole Kawerau Motif oil on hardboard, 1971 signed CHARLES TOLE and dated '71 in brushpoint lower left; printed Name: Charles Tole, 12, Seaview Road, Remuera, Akld 5 / Title: 'KAWERAU MOTIF' / Dimensions: 16" x 14" / Medium: Oil / Support: Hardboard / Date: 1971 / Price: $125.00 / Entry: No.6. on original typed artist's label affixed verso. 390mm x 340mm $15,000 — $25,000
Charles Tole (1903–1986) is scarcely a household name, though he has always had enthusiastic supporters. There is little about him in the standard reference books but he is well represented in major metropolitan collections—Hocken Collections, Christchurch Art Gallery, Te Papa Tongarewa, Auckland Art Gallery, the Fletcher Trust, BNZ and university collections. His generally small, intelligent, coherent and well-finished paintings are a currently undervalued treasure of our art history. An Aucklander all his life, Tole studied at Sacred Heart College and The University of Auckland. He later became a public servant. He started painting without formal training in his late 30s, encouraged by his older brother John Tole (1890–1967) and the Auckland, Edinburgh and Paris-trained artist and teacher John Weeks (1888– 1965) who had studied with the cubist André Lhote in the 1920s. The Tole brothers, who frequently exhibited together, once said: “We have always been intensely interested in modern developments in style and technique, yet we think these elements should not be arbitrarily or consciously striven for but should emerge and flow freely from the subject matter and from the artist’s creative intuition towards the expression and communication of his message.” Their locally inflected version of modernism was shared with other near contemporaries such as Alfred Wallis, Louise Henderson and Doris Lusk. Charles Tole exhibited with the Auckland Society of Arts and with the mildly experimental Rutland and Thornhill Groups in Auckland. He also showed with the Christchurch Group in 1948 and exhibited with his brother at Wellington’s Architectural Centre Gallery in
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1957. Peter McLeavey introduced many discerning collectors to his work in Wellington in the 1980s. He was mainly a weekend and occasional painter until retirement in 1965 enabled him to increase his production. Tole is most strongly identified with studies of the built and industrial landscape—power stations, factories, warehouses, quarries, fertiliser buildings, railway sheds, wharves, ships, lighthouses, cranes, oil tanks and the like, treated in a modified cubist manner, somewhat reminiscent of the American modernists Sheeler and Demuth, both also named Charles. He worked in other modes too, including still life, collage and landscape. Kawerau Motif with its multiple chimneys (one smoking), pipes, factory buildings and landscape elements—sky, hills, clouds—is a fine example of highly typical Tole subject matter and treatment. While the departure from realism is not severe, the painting is far from ‘descriptive’ and all the elements of colour, shape and line are carefully integrated into a two-dimensional construction of some subtlety and complexity. There are carefully balanced repetitions of verticals, horizontals and diagonals, intermixed with curves and arcs and more organic shapes. The smoke at the upper right rhymes with the clouds at the lower left, for example, and the whole painting is alive with such cunning placements and echoes. The complex technology of a major industrial plant—the pulp and paper mill at Kawerau—is matched by a correspondingly artful and satisfying composition. PETER SIMPSON
IMPORTANT PAINTINGS & CONTEMPORARY ART
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24. Michael Parekowhai The Moment of Cubism unique hand-finished bronze, 2009 1190mm x 410mm x 520mm $25,000 — $35,000
Michael Parekowhai’s (b. Porirua, 1968, Ngā Ariki Kaiputahi, Ngāti Whakarongo) work combines a ready and playful wit with immaculate production and thoughtful (if sometimes oblique) references to art history and New Zealand identity.
EXHIBITED Michael Parekowhai: The Moment of Cubism, Michael Lett, Auckland, 28 November 2009—23 Janaury 2010.
He has received many accolades. In 2001, he received the New Zealand Arts Foundation Laureate and, in 2011, he represented New Zealand at the Venice Biennale. That year, he was also awarded the Premier of Queensland Sculpture Commission in Brisbane and Nga Toa Whahaihuwaka, Māori of the Year for Arts, and, in 2013, his work in Phoenix, Arizona, was recognised as a ‘Top 50 Public Art Project’ by Americans for the Arts, Public Art Network and he was awarded the Barfoot & Thompson 90th Anniversary Gift to Auckland City, resulting in The Lighthouse on the city’s waterfront.
PROVENANCE Purchased Michael Lett, Auckland.
The Moment of Cubism first exhibited in a solo show of the same name at Auckland’s Michael Lett gallery in the summer of 2009/10: one of seven individually unique bronze-cast lemon saplings, bagged up as if just purchased from the garden centre. It’s always dangerous to try and read too much into Parekowhai’s work because meaning is slippery and multivalent with him, but the title suggests the emergence of cubist art from the colonisation of indigenous African art by Western classicism: packaged up, commodified, taken away and repurposed. The title itself, however, comes from an eponymous, seminal 1969 essay by the late John Berger in which the paradox of cubism is defined as an objective spirit and subjective execution—much like the paradox of Parekowhai himself. On a more immediately accessible level, though, the idea of something as fragile and ubiquitous as a lemon tree rendered in durable, monumental bronze is immediately intriguing and seductive. Paradox on paradox. ANDREW PAUL WOOD
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25. Leo Bensemann Self Portrait—Grey Coat oil on canvasboard, c. 1936–1937 340mm x 265mm $18,000 — $25,000 ILLUSTRATED Simpson, Peter Fantastica: The World of Leo Bensemann, Auckland University Press 2011, p. 48. Otto, Caroline. Portraits, Masks and Fantasy Figures Nikau Press, 2005, p. 31 and front cover image. EXHIBITED Possibly exhibited at Leo Bensemann's retrospective exhibition, Akaroa, 1972. PROVENANCE From the family of Leo Bensemann, passed by descent to the present owner.
Leo Bensemann Self Portrait oil on canvas An oil portrait painted at the same time as Self Portrait-Grey Coat Private collection, Nelson.
The first oil portrait Leo Bensemann ever exhibited—Smiling Man (CSA, 1936)—was a self-portrait and he continued making selfportraits all his life, his last in the genre being a couple of superb pencil portraits (one now in Alexander Turnbull Library, the other in Christchurch Art Gallery) from 1981. In total, he produced over a dozen self-portraits, more than half of them dating (like the present work) from the late 1930s. This number pales in comparison with his friend and contemporary Rita Angus’s more than 50 self-portraits but is still a significant contribution to the genre. Some of Bensemann’s self-portraits were pencil drawings and others were oil paintings. However, in one unique instance, including the present painting, he made three works—one drawing and two paintings—which are so similar, in terms of posture, cropping of the body and treatment of head and face, that, clearly, they are closely related to each other. The undated pencil drawing obviously came first while the two paintings—different in size, shape and colour, and in the clothing and background of the subject—were developed from the drawing as a preliminary study: a common but not invariable practice with Bensemann’s portraiture. All three works are illustrated on pages 48–49 of Peter Simpson, Fantastica: The World of Leo Bensemann (AUP, 2011). Pg. 48 —
Leo Bensemann Self Portrait graphite on paper The working drawing for Self Portrait-Grey Coat Private collection, Nelson.
The three works show the upper torso and head in left profile; in the present work, the smaller of the two paintings—which may have been exhibited at Bensemann’s Retrospective Exhibition in Akaroa in 1972, for which it is dated 1936—he is shown wearing a white jacket with upturned collar, posed against a solid blue background. The subject is a handsome, fine-featured, black-haired young man in his early 20s (aged about 23 to 25) with distinctive, dark, joined-up eyebrows. His expression is serious, even sombre. Perhaps intense self-examination in a mirror accounts for the earnest demeanour but a melancholy cast to the features suggests more than a momentary mood. His solemnity removes from the work any suggestion of narcissistic self-absorption. He is not striking a melancholic Hamletlike pose but, rather, telling the truth of what he sees in the mirror. Though painted early in his career as a portraitist, this self-portrait with its clean lines, bold colour and psychological acuity already illustrates Bensemann’s exceptional skills. PETER SIMPSON
IMPORTANT PAINTINGS & CONTEMPORARY ART
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26. Leo Bensemann Portrait of Lawence Baigent oil on canvas, c. 1939–1940 350mm x 330mm $10,000 — $15,000
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ILLUSTRATED Otto, Caroline Leo Bensemann, Portraits, Masks and Fantasy Figures, Nikau Press 2005, p. 37. PROVENANCE From the family of Leo Bensemann. Passed by descent to the present owner.
IMPORTANT PAINTINGS & CONTEMPORARY ART
27. Leo Bensemann Te Tara-o-te-Rakitiaia (Summit Road Peak and Southern Alps) oil on board, 1985 610mm x 790mm $15,000 — $20,000 ILLUSTRATED Otto, Caroline Leo Bensemann Landscapes and Studies, Nikau Press 2006, p. 115. PROVENANCE From the family of Leo Bensemann. Passed by descent to the present owner.
This striking landscape was one of the last paintings Leo Bensemann completed before his death at the age of 73 in 1986. It was worked up from a photograph by his daughter Anna of a distinctive conical peak near Gebbie’s Pass on the Summit Road of Canterbury’s Port Hills. According to letters quoted in Caroline Otto’s Leo Bensemann: Landscapes & Studies (Nikau Press, 2006), Bensemann immediately saw the potential of the scene: “I’m glad you sent that nice photo of the small peak on the Summit Road—it’s quite inspiring and I will certainly do something about it” (p. 115). A month later (June 1984), he told another daughter, Cathy, that working on the landscape had “given him a lift” (he had been ill with cancer for some time) and that “The sky in the painting is one of my best ever”. Although the conical peak retains much the same shape and dimensions as those in the source photograph (Otto, 2006, p. 114), Bensemann has freely modified both foreground and background. Into the foreground, he has introduced white rocks, hillocks and yellow tussock not visible in the photograph while, as background, he has painted a broad vista of the green Canterbury Plains of late autumn, ending in a distant band of snow-covered peaks of the Southern Alps, with a delicately depicted sky above. Bensemann gave the peak its Māori name and wrote into his notebook that Gebbie’s Pass (Kawa Taua) was used regularly by Māori war-parties crossing into or from Lyttelton Harbour. This strong and distinctive landscape, dominated by the compelling triangular shape of the central motif, shows that Bensemann retained his painterly powers until the end of his life and was painting as memorably and idiosyncratically as ever. PETER SIMPSON
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28. Andrew McLeod Painter Silhouette oil on stretched canvas, diptych, 2008 signed Andrew McLeod and dated 2008 in brushpoint lower right 1750mm x 2100mm $40,000 — $65,000 PROVENANCE Purchased from Brooke Gifford Gallery, Christchurch, 2008.
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Andrew McLeod (b. Rotorua, 1976) grew up in Mt Eden in Auckland and graduated in 1998 with a Bachelor of Fine Arts degree from Elam School of Fine Arts at The University of Auckland. He lives in Auckland with his partner, artist Liz Maw. McLeod is a painter of visions and wonders drawn from imagination, art history (particularly illustration and graphic design) and autobiography. From these, he creates surreal bricolages of the strange and unexpected, which, nonetheless, always conform to a logic that makes sense to the artist in the ambiguous space he has created for them. Painter Silhouette is a kind of self-portrait. The painter, surrounded by the stereotypical equipment of painting, is rendered like an early 19th-century silhouette. This serves to lessen his importance in favour of the riot of inspiration surrounding him: a phantasmagoria of plants and animals from illustrated children’s books, rainbows and starbursts (nostalgic for the 1970s of McLeod’s birth) and a female nude in a leopard-print bikini top, alluding to the subject matter of academic painting and sexual desire that counterpoints the fairy tale innocence. Typically, sex or consumerism is the serpent in McLeod’s Eden. McLeod won the National Drawing Award in 2004, the McCahon House Artists’ Residency in 2007 and in 2010, was awarded a New Zealand Arts Foundation Award for Patronage Donation from Gus and Irene Fisher. His work is held in several significant collections, including Auckland Art Gallery, the Chartwell Collection, the Govett-Brewster Art Gallery, the James Wallace Arts Trust, Te Papa Tongarewa, The University of Auckland and the National Gallery of Victoria in Melbourne. His work has featured in The 2nd Auckland Triennial in 2004, the 27th São Paulo Biennial in 2006, Telecom Prospect 2007, in solo exhibitions around New Zealand and in group shows in Melbourne, Hong Kong and Berlin. ANDREW PAUL WOOD
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IMPORTANT PAINTINGS & CONTEMPORARY ART
29. Tony Fomison Portrait of the French Painter, Rouault oil on hessian, 1975 inscribed #103 in brushpoint verso, #103 in ink verso, Webb's label affixed verso 370mm x 370mm $35,000 — $45,000 PROVENANCE Sold Webb's, 1995. Private collection, New York. REFERENCE Wedde, Ian. Fomison, What Shall We Tell Them? City Gallery, Wellington, 1994, p. 170.
Tony Fomison’s portrait of 19th century painter Georges Rouault simultaneously conveys a tenderness in the imagined relationship between the artist and his subject, and a sense of discomfort and spiritual malaise. Given the centrality of religious concerns to Fomison’s own journey of spiritual conflict, one starting point from which to consider his portraiture practice, and this work in particular, is the 16th century poem La noche oscura del alma, or, the Dark Night of the Soul. The poem draws on a similar language of iconographic religiosity, and can be engaged with as something of a revelatory text when considering the canon of prophets, icons and artists which Fomison referenced in the production of portraits such as these. Fomison’s exploration of the human condition as borne out through portraiture also included depictions of such other artistic forbearers as William Blake and Thomas Gainsborough. These works possess a compositional tension: he consistently breaks with convention to
present a close-up view of his subject’s visage through the confines of an alternative frame (often diamond or circular). Virtuous in the intimacy of its likeness, the hessian painted surface of this particular portrait of Rouault breathes life, and possesses a certain viscerality and rawness. Finally, the choice of subject for this portrait calls attention to the parallel philosophical and aesthetic remit of both artists. Georges Rouault’s artistic journey was also underpinned by something of an existential and spiritual dilemma: a “moral” crisis following the death of his teacher Gustave Moreau, which eventually translated to the development of a distinct expressionistic style (including, in the same spirit as Fomison, grotesque and absurd depictions of jesters and circus characters). This portrait is therefore testament to an affinity of artistic connection which transcended the passing of centuries. RACHEL KLEINSMAN
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30. Charles Frederick Goldie Ka Ra Te Wera or A Hot Day oil on canvas, 1919 signed C F Goldie and dated 1919 in brushpoint upper right, Ka... A Hot Day partial inscription in ink on distressed original artist's paper label affixed verso, original John Leech Gallery label affixed verso, housed in original frame 245mm x 191mm $280,000 — $380,000 PROVENANCE Acquired directly from the artist by Frederick and Olive Wilson, the present owners' grandparents and passed by descent. The present owners' aunt Jean Wilson was married to Tup Goldie, the artist's nephew. Charles Goldie was friendly with the Wilson family and it is believed that this work was gifted to the present owners' grandmother, Olive Wilson. Upon Olive's death in 1961, the work passed by descent to the present owners. ILLUSTRATED Taylor, Alister and Glen, Jan, C.F. Goldie 1870–1947: His Life and Paintings, published by Alister Taylor, Martinborough, 1977, p. 254. NOTE The correct Māori translation of A Hot Day is Ka Wera Te Ra, not Ka Ra Te Wera, as Goldie has titled this work.
We do not know the identity of the boy who sleeps so peacefully in Ka ra te wera: A Hot Day (1919), even though he is portrayed by Charles Goldie with such fidelity that we feel convinced that there was such an individual and that it could not be an imagined subject. The boy bears some resemblance to Hamiora Haupapa, painted more than once in 1901 and also asleep in one of his portraits, titled Caught Napping. But while in that work, Hamiora is arrayed in the Māori accoutrements that Goldie so often employed—a flax cloak and greenstone heitiki—the boy in A Hot Day, painted 18 years later, wears European clothes: a faded green jacket over a cream shirt. The pale colours of the fabrics are a perfect foil for his ruffled black hair and smooth, deeply bronze skin, and are offset by the dark shadow cast by his head against the carved post on which he leans: a poupou, which speaks of his Māori ancestry. Goldie had titled an earlier painting A Hot Day too—one of his 1901 studies of Pātara te Tuhi, a well-known work in Christchurch Art Gallery. Unlike in Goldie’s portrait of him as a warrior in chiefly garments, in this work, Pātara is ‘caught napping’ wearing everyday dress with only his chiselled moko and greenstone earring reminding us of his mana and his heroic past. His great age is particularly pronounced as he sleeps, evoking a pathos that suggests that his glory days are over. Pg. 56 —
Goldie has often been characterised—and censured—as an artist depicting Māori as a dying race but A Hot Day of 1919 defies that reading. The small scale of the work, which is mounted in its distinctive original frame, draws in the viewer and our eyes linger on the smoothly sensual surfaces of the young face, depicted with Goldie’s consummate skill. The sense of intimacy this close viewing evokes, and the fact that the boy is unaware of our scrutiny, may make him seem vulnerable but the warmth of the sun on his skin and relaxed ease with which his slumbering head has come to rest on the carving counter the sense of melancholy prevalent in Goldie’s more customary images of venerable Māori. This youthful sitter strikes a different note from that of those elderly subjects who, especially when asleep, imply the frailty of old age and the sadness of dreaming about a past that is disappearing. The boy depicted in A Hot Day suggests a more positive view—of a young Māori who enjoys dozing in the sun and who will wake refreshed to embrace the future. ELIZABETH RANKIN
IMPORTANT PAINTINGS & CONTEMPORARY ART
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IMPORTANT PAINTINGS & CONTEMPORARY ART
31. Colin McCahon Landscape Multiple No. 2 sawdust, synthetic polymer paint on hardboard, 1968 signed Colin McCahon, inscribed Landscape Multiple, dated May June '68, No 2 of a series of 12, No. 2 302mm x 300mm $35,000 — $45,000 REFERENCE Colin McCahon database www.mccahon.co.nz, reference cm001447 EXHIBITED 1968 Auckland: Colin McCahon's Bargain Basement! of Multiples & Variations on his Regular Themes also Visible Mysteries, Barry Lett Galleries, 14-25 October 1968, cat. no. 2. NOTE There were twelve works in this series. Although termed 'Multiples' each work was unique.
In 1968, Barry Lett Galleries announced jauntily: “Colin McCahon’s Bargain Basement! Of Multiples and Variations on His Regular Themes”. There were four series included: 12 Landscape Multiples; eight paintings called Helensville; four paintings called South Canterbury; and six South Canterbury Landscape Variations. This amounted to a total of 30 small paintings. Also included in the same exhibition were eight Visible Mysteries—another kettle of fish altogether. All 12 Landscape Multiples are variations on a theme. Each consists of two zones, upper and lower, sky and earth, divided by a horizon line which is more or less straight. The horizon always falls in the same place making the lower section somewhat larger than is the upper. Another common element is the medium; in the lower parts, sawdust is mixed with the acrylic paint, producing a grainy texture and this is especially noticeable in the present example. The strongest differences between the works are in colour, which varies considerably from pale to strong. There are also minor differences in the handling of the two zones of the painting. In the present example, the ochre sky is itself in two parts, the narrower, darker, upper part being suggestive of a band of clouds; this same division is apparent in other examples of the series. The lower ‘earth’ zone also varies from work to work; sometimes it is solid but, in others (as in this instance), crossed by a diagonal fissure (which may lean left or right), formed by the absence of the grainy, sawdust-induced texture. Though small in size, this work punches above its weight, so to speak. Handsome, stylish and unmistakeable, it contains within its fundamental contrast of sky and earth, light and dark, an authentic manifestation of McCahon’s artistic DNA. PETER SIMPSON
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IMPORTANT PAINTINGS & CONTEMPORARY ART
32. Colin McCahon Kauri acrylic on board, 1965 signed McCahon, inscribed Kauri and dated Sept 65 in brushpoint lower left; original John Leech Gallery label verso 750mm x 500mm $100,000 — $130,000 REFERENCE Colin McCahon database www.mccahon.co.nz, reference cm0001536.
This elegantly minimal work is one of an unexpected group of three, of similar size and imagery, in which, in 1965, Colin McCahon revisited the ‘kauri’ theme that had dominated his work between 1953 and 1959. In 1953, McCahon and his family moved from Christchurch to a small cottage near French Bay in Titirangi. There were dozens of young kauri growing on their property and the surrounding Waitakere hills were covered in them—a regenerating forest gradually recovering from the devastation of decades of intensive logging (and now, of course, threatened by the deadly ‘die-back’ phenomenon).
What prompted McCahon to revisit this theme temporarily in the mid-1960s (there are a couple of other kauri works in 1967) is not known. In style, they are very different from the works of the 1950s. All three 1965 works are white on black; each consists of a thin trunk (designated by two white lines) running from bottom to top of the picture and a single thin branch extends from each trunk. All three also include a circular motif at the bottom. In representational terms, this may represent the spherical cones of the kauri but, in effect, is almost entirely abstract. The present work is the most minimal of the three.
As a South Islander, McCahon had never seen kauri before and immediately became preoccupied with the majestic trees, from skinny ‘rickers’ to forest giants, as a new subject for his art. Over the next few years, he made dozens of works (more than 50) focusing on the kauri: some of individual trees, others of whole hillsides. This preoccupation came to a sudden end when the McCahons moved from Titirangi to the inner city (Newton) early in 1960.
McCahon was familiar with Cézanne’s famous dictum: “treat nature by means of the cylinder, the sphere, the cone” but, in works such as this, he goes even further, reducing his pictorial grammar to two colours, white and black, and two shapes, straight lines and circles. It is as if he was seeing how far he could reduce the elements of his art while still retaining a modicum of reference to the phenomenal world. It is this daring reductiveness, this austerely refined simplicity, which is most likely to appeal to viewers today. PETER SIMPSON — Pg. 61
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33. Simon Denny Kim Dotcom digital screenprint on canvas, unique 1595mm x 1095mm $14,000 — $20,000 EXHIBITED Simon Denny: The Personal Effects of Kim Dotcom, Adam Art Gallery, 2013. All works in the aforementioned exhibition were produced in New Zealand for this exhibition.
Just as it is impossible to tell whether Bryan Ferry’s wavering falsetto is sarcastic or sincere heartbreak, with Simon Denny you never know whether he is making a genuine political statement or being playful with post-internet aesthetics: not that either position matters in the enjoyment of the sheer chutzpah of his work. Berlin-based Denny (b. Auckland, 1982), a graduate of the Elam School of Fine Art at The University of Auckland and the Meisterschule at Frankfurt’s Städelschule, has risen to international prominence in the last decade, notably representing New Zealand at the 2015 Venice Biennale, and having solo shows at MoMA PS1 in New York and the Serpentine in London. Kim Dotcom comes from the series The Personal Effects of Kim Dotcom, which has been exhibited in three iterations: at the Museum Moderner Kunst Stiftung Ludwig Wien (mumok) in Vienna (2013), Firstsite in Colchester, UK and the Adam Art Gallery, Wellington (both 2014). Denny was inspired by the infamous raid made by New Zealand Police, at the behest of the FBI, on the Auckland mansion of German internet entrepreneur Kim Dotcom, who was accused by the US Justice Department of copyright infringement and other crimes. Working from the police inventory of seized items, Denny either recreated the objects entirely or made 110 graphic representations on stretched canvas, conceived in collaboration with New Zealandborn, Amsterdam-based designer David Bennewith. This work is an example of the latter. Rendered like a screenshot of Dotcom’s file-sharing platform Megaupload, from a mobile phone, it depicts the dismounting of a large, fetishistic anime sculpture by US-based British artist Colin Christian. The work reflects Denny’s interest in the slipperiness of information in an age where everything is mediated through the media and the web, in this case, at a point where intellectual property rights, the right to privacy, personal taste and freedom of information collide. ANDREW PAUL WOOD Pg. 62 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
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MOSSGREEN-WEBB’S AUCTION HOUSE
34. Charles Frederick Goldie Ka Pai Te Kai Paipa, Portrait of Te Hei Ngatiraukawa, A Maori Chieftainess oil on canvas, 1941 signed C. F. Goldie and dated 1941 in brushpoint upper right, inscribed "Kaipai Te Kai paipa", Te Hei—Ngatiraukawa tribe, Te Hei—Ngatiraukawa Tribe in ink on three original artist's paper labels affixed verso, inscribed KAPAI TE KAI PAIPA, Studio in graphite on frame verso 405mm x 510mm $500,000 — $700,000 PROVENANCE Formerly in the collection of Major Charles Passmore, a New Zealander with a distinguished WWII military record. Major Passmore's wife was Scottish and their time was divided between New Zealand and Scotland. They moved to Scotland permanently in the 1970s and the work could have left New Zealand anytime between the end of WW2 and the 1970s.
Goldie’s late paintings—of which Ka Pai Te Kai Paipa, Portrait of Te Hei, A Maori Chieftainess (1941) is a fine example—still focused on portraits of Māori in his recognisable ‘true-to-life’ style, but there were noteworthy changes in his approach. In earlier work, his meticulous observation and depiction of detail was usually applied to all elements equally – setting, dress and ornament as well as sitter—creating a sense of overall verisimilitude. His late works also display a high level of realism but, in each painting, it is concentrated on the face of the sitter, while the rest of the canvas is more broadly treated and subsumed in golden light. He seems to have been paying homage to an Old Master he had copied while studying in Paris in the 1890s – Rembrandt. Indeed, one work of 1933, a portrait of Hera Puna, is titled As Rembrandt Would Have Painted the Maori. This is the style of Portrait of Te Hei. While we have a general impression of a carved whare behind her and a familiar checked blanket over her shoulders, it is the focus on the face that captures our attention. The elderly chieftainess is portrayed with intense concentration on every detail of her countenance, revealed by the light that bathes its surface and glints on her forehead and the tip of her nose. Although the paintwork is more fluid than is the case in Goldie’s earlier works, Te Hei’s wrinkled skin is almost tangible. This concept is made all the more real as she herself fingers her chin with its moko and as the pressure of her thumb pushes up the flesh of her cheek, emphasising the idea of tactility. Pg. 64 —
Te Hei’s face, beneath her tousled grey hair, seems ‘lived in’ as though each line maps her past experiences. But there is no despondent nostalgia; she enjoys the pipe she is drawing on so that the embers flare red (the title means ‘smoking is good’), and her crinkled eyes suggest pleasure and laughter rather than vulnerability and pain. Te Hei of Ngati Raukawa was a favourite sitter, who had sat for Goldie previously for two disconsolate portraits, near frontal and profile heads, painted in 1907.1 She was already very elderly then so it seems most unlikely that she was still alive in 1941 to sit for this work. Yet, ironically, this image seems more vital, as though Goldie compensated for her absence by endowing her with renewed life. This is no passive ‘type’ but an individual with a strong presence and her eyes seem to survey us as much as we do her. Her spirited image is evidence of Goldie’s continuing skill even though, now in his 70s, he stopped painting that year. It adds significance to this Portrait of Te Hei that it must be amongst the very last of his works. ELIZABETH RANKIN
1 Auckland War Memorial Museum. Echoing the dejection of the 1907 works are paintings of Te Hei dated 1909, 1920 and 1940. Two unusual works of 1909 and 1910 depict her laughing, showing her missing teeth.
IMPORTANT PAINTINGS & CONTEMPORARY ART
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 65
IMPORTANT PAINTINGS & CONTEMPORARY ART
MOSSGREEN-WEBB’S AUCTION HOUSE
35. Reuben Paterson The Signified glitter dust on canvas, 2012 title inscribed The Signified, signed Reuben Paterson and dated 2012 verso 835mm x 835mm $10,000 — $12,000
Pg. 66 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
36. Darryn George Pukapuka #18 oil on canvas, 2008 signed Darryn George and DW George, inscribed Pukapuka #18, dated 2008, oil on canvas in ink verso 1250mm x 2350mm $15,000 — $20,000 PROVENANCE Purchased Gow Langsford Gallery, Auckland, 2008.
— Pg. 67
MOSSGREEN-WEBB’S AUCTION HOUSE
37. Raymond Ching Labels oil on board, 2005 signed Ray Ching, dated 2005 centre right in brushpoint; signed, title inscribed and dated 2005 verso in brushpoint 910mm x 1650mm (image size) 1090mm x 1240mm (frame size) $35,000 — $55,000 PROVENANCE Purchased by the current owner from Jonathan Grant Galleries
Pg. 68 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
38. Raymond Ching The Student and Her Flowers oil on board signed Raymond Ching lower right in brushpoint, title stenciled on frame top centre 895mm x 1075mm (image size) 1085mm x 1265mm (frame size) $30,000 — $45,000 PROVENANCE Purchased by the current owner from Jonathan Grant Galleries
— Pg. 69
MOSSGREEN-WEBB’S AUCTION HOUSE
39. Laurence Aberhart Interior: "Whitikaupeka"; Moawhanga, April 1982 toned silver gelatin contact print, 1982 signed L. Aberhart in ink lower right, inscribed Interior: "Whitikaupeka"; Moawhanga April 1982 lower left and dated 1982 in ink lower right. 195mm x 245mm $2,500 — $4,500
40. Laurence Aberhart Hau-Hau Flag #4 toned silver gelatin contact print, 1983 signed L. Aberhart, inscribed (courtesy of the National Museum, Wellington) and dated 1983 in ink lower right, inscribed Hau-Hau Flag No.4 in ink lower left 195mm x 240mm $2,500 — $4,500
Pg. 70 —
41. Laurence Aberhart Interior Anglican Church, Pawarenga Peninsula, Whangapae Harbour, Northland, 10 May 1982 toned silver gelatin contact print, 1982/1983 signed L. Aberhart in ink lower right, inscribed Interior Anglican Church, Pawarenga Peninsula, Whangapae Harbour, Northland 10 May 1982 in ink lower left, dated 1982/83 in ink lower right 113mm x 240mm $2,000 — $4,000
42. Laurence Aberhart Hau-Hau Flag #3 toned silver gelatin contact print, 1983 signed L. Aberhart in ink lower right, inscribed Hau Hau Flag: National Museum, Wellington in ink lower left, dated 1983 lower right in ink; inscribed Hau-Hau Flag #3 (courtesy, National Museum) Wellington Feb 1983 and dated Feb 1983 in graphite verso 105mm x 240mm $2,500 — $4,500
IMPORTANT PAINTINGS & CONTEMPORARY ART
43. Laurence Aberhart Ara Lodge, #1, St Benedict's St, November, 1978 gelatin silver print, 1981 signed L. Aberhart, inscribed Ara 1978 and dated 1981 in graphite lower left 195mm x 240mm $2,000 — $4,000
45. Laurence Aberhart Kamala and Charlotte in Grounds of Lodge Tawera, Oxford; August 1981 silver gelatin print with gold toning, edition studio proof, 1981. signed L Aberhart, inscribed KAMALA AND CHARLOTTE IN GROUNDS OF LODGE TAWERA, OXFORD; AUGUST 1981 Note: minor distortion, lower edge 190mm x 240mm $1,000 — $2,000
44. Theo Schoon Pukaki silver gelatin bromide print on card 345mm x 290mm $3,500 — $5,000
46. Peter Peryer Veil digital photograph, inkjet print on Ilford Galerie gold fibre silk 315gsm, edition 11/15, 2012 signed Peter Peryer, titled Veil, dated 2012 and editioned on photocopy label verso, printed by Kevin Church, Opticmix Ltd, under the artist’s supervision 295mm x 215mm $2,000 — $3,000
— Pg. 71
MOSSGREEN-WEBB’S AUCTION HOUSE
47. Laurence Aberhart Nine Masonic Lodges in Canterbury: A portfolio of photographs, published by Pyramid Press of the Antipodes 1982 1. Lodge Erewhon No. 200: Mount Somers, 1982 2. Lodge Sumner No. 242: Sumner, Christchurch, 1981 3. Lodge Kaikoura No. 60: Kaikoura, 1981 4. Lodge Geraldine No. 27: Geraldine, 1982 5. Lodge Brighton No. 236: New Brighton, Christchurch, 1982 6. Lodge Tawera No. 188: Oxford, 1981 7. Lodge Shirley No. 263; Shirley, Christchurch, 1981 8. Lodge St George No. 29: Temuka, 1981 9. Lodge Concord No. 39: Papanui, Christchurch, 1981 nine silver gelatin prints with selenium toning, edition 10. each inscribed with full title, dated 1981 or 1982 in ink lower left, signed L. Aberhart and dated 82 in ink lower right, six of the nine signed L. Aberhart and dated 1981 or 1982 in graphite lower right 195mm x 245mm $15,000 — $25,000 NOTES Nine Masonic Lodges in Canterbury is the first of a series of selected photographs bound in folios, each in an edition of ten. The photographs were printed in January and February 1982; contact printed from 8" x 10" negatives on Azo Contact paper and toned in selenium, mounted and matted on all-rag card. The text was set in Bembo type and screen printed by Terry Austin, Elephant Press, while folio, cover and slipcase were made by Whitcoulls Ltd. All other production by author/ Pyramid Press of the Antipodes.
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IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 73
MOSSGREEN-WEBB’S AUCTION HOUSE
48. Peter Peryer Gone Home Series suite of ten vintage framed gelatin silver prints taken with Diana Camera, framed original introduction sheet, framed original Gone Home portfolio cover, edition 4/20, 1976 signed Peter C Peryer, dated Easter 1976 and editioned in ink on original introduction sheet 177mm x 177mm $9,000 — $12,000
Pg. 74 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
— Pg. 75
MOSSGREEN-WEBB’S AUCTION HOUSE
49. Eve Armstrong Arrangement photo collage, packing tape and acrylic on board on wire rack, 2004 signed Eve Armstrong and dated 2004 in ink verso, inscribed 1 verso (signature partially obscured by tape) 293mm x 450mm $1,000 — $2,000
50. Yvonne Todd Gortha C-type print, edition 3/3, 2003 signed Yvonne Todd, titled Gortha, dated 2003 and editioned in ink verso 425mm x 485mm $3,000 — $4,000 EXHIBITED Yvonne Todd: The Book of Martha, Peter McLeavy Gallery, Wellington, 2003 A work from this edition was exhibited Yvonne Todd: Creamy Psychology, City Gallery Wellington, December 2014 — March 2015. ILLUSTRATED Yvonne Todd: Creamy Psychology, Wellington: published City Gallery Wellington and Victoria University Press, 2014. Pg. 76 —
51. Rohan Wealleans Made in Taiwan Large 3d Aboriginal Painting Model no 5. gouache and graphite on paper 2011 signed Rohan Wealleans, and dated 2011 in graphite lower left, inscribed MADE IN TAIWAN LARGE 3D ABORIGINAL PAINTING MODEL NO 5. in graphite lower centre, Brett McDowell Gallery Dunedin label affixed verso 540mm x 390mm $3,000 — $5,000
IMPORTANT PAINTINGS & CONTEMPORARY ART
52. Et Al Untitled digital print, masking tape and gaffer tape, inscribed AUP, fig. 2 and dated 2.3.02. in image 735mm x 1200mm $1,000 — $2,000
53. Andrew Barnes-Graham Give Me What I Want Now oil on canvas signed Andrew Barnes-Graham, inscribed Give Me What I Want Now in ink verso 900mm x 900mm $3,000 — $5,000
— Pg. 77
MOSSGREEN-WEBB’S AUCTION HOUSE
54. Brendan McGorry This is Not a Rainy Day in Paris acrylic and charcoal on canvas signed Brendan in charcoal lower left 1200mm x 1500mm $5,000 — $7,000 PROVENANCE Art Capers Collection.
Pg. 78 —
55. Thomas Elliot On Foot acrylic on hessian on canvas, 2017 signed Thomas Elliot and dated 2017 in brushpoint verso 835mm x 710mm $2,000 — $3,000
56. Kathy Barber Float acrylic and oil on linen, 2014 signed Kathy Barber, inscribed Float and dated 2014 in felt tip verso 1100mm x 1000mm $4,000 — $5,500
PROVENANCE Art Capers Collection. Purchased The Lane Gallery, Auckland.
PROVENANCE Art Capers Collection.
IMPORTANT PAINTINGS & CONTEMPORARY ART
57. Peata Larkin Whakataunga II (Takitahi) acrylic and mixed media on canvas, 2007 signed Peata Larkin and dated '07, title inscribed Whakataunga II (Takitahi) in brushpoint verso 800mm x 810mm $4,000 — $6,000 PROVENANCE Art Capers Collection. Purchased Milford Galleries, Auckland, 2007.
58. Nick Wall It is Difficult to See for the Earth in My Eye gesso, acrylic and synthetic polymers, caprithane laquer on Belgian linen and fabricated stretcher signed Nick Wall, dated 2010, inscribed It is difficult to see for the earth in my eye verso 600mm x 1070mm $3,000 — $5,000
59. Andrew Blyth Untitled acrylic on paper 1000mm x 995mm $2,000 — $3,000 PROVENANCE Art Capers Collection. Purchased Tim Melville Gallery, Auckland, 2012.
PROVENANCE Art Capers Collection. Purchased Warwick Henderson Gallery, Auckland, 2010.
— Pg. 79
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60. Ralph Hotere Drawing for a Tin Roof Painting mixed media on paper, 1985 – 1986 signed Hotere, Port Chalmers and dated 85 – 86 in brushpoint lower right 745mm x 550mm $15,000 — $20,000
Pg. 80 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
61. Ralph Hotere and Mary McFarlane Barcelona mixed media on mirror, handmade kauri frame with applied metal segments including altered coins, 1998 signed by both artists verso, inscribed Port Chalmers, 1998 verso 915mm x 1115mm (overall size, includes frame) $10,000 — $15,000 NOTES Ralph Hotere informed the prior owner that he made the frame using pieces of metal he had flattened on the rail tracks behind his studio.
— Pg. 81
MOSSGREEN-WEBB’S AUCTION HOUSE
62. Alan Taylor Manukau Archaeology 50 illustrations in watercolour and ink on paper, accompanied by 28 page manuscript, 1981 draft manuscript typewritten by the artist, with working title Pictorial Field Book of New Zealand 304mm x 294mm (illustration paper size) $10,000 — $15,000 FEATURED ILLUSTRATIONS 1 Digging up the past 9 Museum collections 10 Moas and men 25 Women 26 Arts and crafts 27 Dressed to Kill 38 Warfare 44 Manukau settlements A full description of this manuscript is available online.
Pg. 82 —
Alan Taylor arrived in Auckland in the 1950s where he immediately became fascinated by Maori culture and history. His life’s work was the research and documentation of Maori history with a specific focus on late 19th and early 20th century carving and art forms. He coined the now broadly recognised, term ‘Maori Folk Art’ for this style and period of Maori art and published a pioneering book on the subject Maori Folk Art. This publication was the culmination of decades of research where Taylor travelled the country, documenting and meeting Maori elders. Taylor’s work related to historic Maori incidents, which he had researched intimately. Taylor provided the unpublished manuscript (1980), Manukau Archaeology, with the working title Pictorial Field Book of New Zealand. Combining Taylor’s skills as an historian and an artist, this fascinating research document is an illustrated
account of New Zealand archaeology based on 20 years of field work. The text and paintings cover subjects such as Maori warfare, burial customs, art and architecture; as well as legends and culture. The title Manukau Archaeology refers to the history of five Manukau pa sites (some of which are now the Manukau Memorial Gardens) and the entrance to Auckland Airport. The detailed texts demonstrate Taylor’s comprehensive knowledge of Maori culture and history and his highly-resolved page illustrations, in bright watercolour washes, are a significant, visual record in their own right.
IMPORTANT PAINTINGS & CONTEMPORARY ART
63. Alan Taylor Myth. Legend Paintings, Symbols, Notes 26 oil on canvas on cardboard, accompanied by green bound notebook, 1983–1988 300mm x 252mm (oil on canvas), 225mm x 145mm (notebook size) $10,000 — $15,000 Green bound notebook inscribed Alan Taylor. MythLegend, Paintings: Symbols Notes. October: November. 1983–84–85–86–87–88 in felt pen and ink on inside cover with original artist stamp, the pages of the notebook contain graphite drawings, ink drawings, text, watercolour illustrations, newspaper cutouts pasted into the notebook. A full description of this lot is available online.
NOTE This series of paintings is accompanied by a working notebook containing comprehensive research and working studies for this suite of works. FEATURED ILLUSTRATIONS Sketch No. 1 Io initialed AT lower left signed Alan Taylor and dated X3 verso, titled Io and inscribed For Tony verso, preparatory pencil sketch with artists' notes on paper affixed verso Sketch No. 6 Ruaimoko signed Alan Taylor and dated '83 in ink verso signed Alan Taylor inscribed Ruaimoko for Tay in artists' hand verso, inscribed 6 verso Sketch No. 11 signed A Taylor lower right Sketch No. 3 signed A Taylor, inscribed Maui for Tony verso, inscribed 3 verso
— Pg. 83
MOSSGREEN-WEBB’S AUCTION HOUSE
64. Peter Robinson 3rd mixed media on paper signed Peter Robinson and dated 2009 in graphite lower right 2200mm x 1500mm $6,000 — $8,000 65. David Trubridge Nananu Chair handmade in American ash, steam bent sculptural feature bench, timber sourced from sustainable plantation based suppliers 1490mm x 1070mm x 650mm $2,500 — $3,500 66. Galia Amsel Untitled cast gaffer glass 345mm x 485mm x 55mm $6,000 — $8,000 NOTE Galia Amsel is represented by Masterworks Gallery, Auckland.
Pg. 84 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
67. Nicola Farquhar Denise oil on stretched canvas, 2013 initialed N.F and dated 2013 in ink verso 795mm x 700mm $5,000 — $7,000 EXHIBITED Nicola Farquhar: Daylight's Feeling Forms, Hopkinson Cundy, Auckland (now Hopkinson Mossman), 5 July—3 August, 2013. PROVENANCE Purchased Hopkinson Cundy, Auckland (now Hopkinson Mossman), 2013.
68. Rohan Wealleans The Caretaker acrylic and pins on board, 2010 signed Rohan Wealleans, dated 2010 in ink verso, Hamish McKay, Wellington gallery label affixed verso 700mm x 505mm x 80mm $4,000 — $6,000 EXHIBITED Apocalyptic Intuition: Rohan Wealleans, City Gallery Wellington, 23 June— 23 September, 2012. PROVENANCE Purchased Hamish McKay Gallery, Wellington.
— Pg. 85
MOSSGREEN-WEBB’S AUCTION HOUSE
69. Roy Good Architectonic III acrylic on canvas, 1974 signed Roy Good and dated '74 in marker pen verso 1530mm x 760mm $6,000 — $8,000 EXHIBITED Roy Good, Solo Exhibition, Petar James Gallery, Auckland, 1974.
70. Roy Good Octagon Gem acrylic and canvas on board, 1971 signed Roy Good and dated '71 in brushpoint verso, original Warwick Henderson gallery label affixed verso 610mm x 610mm $3,500 — $4,500
Pg. 86 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
71. Leon van den Eijkel Three Squares and a Rectangle acrylic on stretched canvas, quadtych 2012 signed L Eijkel and dated 08–2012 on each panel in ink verso 610mm x 610mm $2,000 — $3,000
72. Leon van den Eijkel Four Squares 04 acrylic on stretched canvas, quadtych 2012 signed L Eijkel and dated 2012 on each panel in ink verso 610mm x 610mm $2,000 — $3,000
73. Art and Language Untitled (Art History, Art Criticism and Explanation) digital print, acrylic and masking tape on canvas 593mm x 426mm $3,000 — $5,000
NOTE This painting was gifted to the present owner by a member of the Art & Language group in 1996. A full letter containing additional provenance is available upon request. According to their long-term dealer, Nicholas Logsdail of the Lisson Gallery, the collaborative group Art & Language were the "inventors of conceptual art". The group was founded in 1967 by four artists who were teaching art theory in Coventry. Since then the group has included nearly 50 members. The earliest works, produced in the 1960s, are text based, philosophical musings about art, its function and meaning. New group members in the ‘70s and ‘80s meant the group’s output took on several different forms before branching out into painting where it currently remains. Art & Language featured prominently in a reassessment of British conceptual art in an exhibition held at Tate Modern, London in 2016 where they were credited with being a significant force within this previously underdeveloped area of British Post War conceptual practice.
— Pg. 87
MOSSGREEN-WEBB’S AUCTION HOUSE
74. Garth Tapper Self Portrait (Reclining Figure verso) oil on board, 1965 signed Garth Tapper and dated '65 in brushpoint lower right verso 720mm x 600mm $5,500 — $7,500
75. Melvin Day Pussy Willow Shoots oil on paper on board, c. 1955 signed Day in graphite lower right; inscribed Pussy Willow Shoots verso in graphite on paper affixed verso 580mm x 400mm $7,000 — $9,000 76. Garth Tapper Gums oil on board signed Garth Tapper lower right John Leech Gallery label affixed verso 283mm x 383mm $4,000 — $6,000 PROVENANCE One Man Exhibition, John Leech Gallery, Auckland, 1970.
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IMPORTANT PAINTINGS & CONTEMPORARY ART
77. Jacqueline Fraser The Acute Massacre of the Blessed by the Crucial Scientific Curse #10 mixed media (wire, pins, fabric, sequins, printed text on mylar) accompanied by handwritten installation instructions, signed Jacqueline Fraser and installation photgraphs, original cardboard box with Roslyn Oxley9 label 2200mm x 1450mm $6,000 — $8,000 PROVENANCE This work was made for Yokohama Triennale, Japan, 2001–2002. Purchased by the current owner from Roslyn Oxley9, Sydney, Australia. — Pg. 89
MOSSGREEN-WEBB’S AUCTION HOUSE
78. Clare Kim Wiki The Crow ink on paper 1000mm x 990mm $2,500 — $3,500 PROVENANCE Art Capers Collection. Purchased Sanderson Contemporary Art, Auckland, 2010.
80. Glen Wolfgramm Neighbour Hood acrylic on canvas, 2007 signed and dated 2007 and inscribed Neighbour Hood verso 835mm x 1370mm $3,000 — $4,000 PROVENANCE Art Capers Collection. Purchased OrexArt, Auckland, 2007.
Pg. 90 —
78. Clare Kim Wiki The Crow detail
79. Louise McRae Series: Things I Want to Make charred kauri, oil and silver leaf on kauri, 2011 signed L McRae and dated 2011 verso 1150mm x 840mm $2,500 — $3,500 PROVENANCE Art Capers Collection. Purchased Antoinette Godkin Gallery, Auckland, 2012.
81. PJ Patterson Hectate enamel on perspex 1000mm x 1050mm $3,000 — $4,000 PROVENANCE Art Capers Collection. Purchased Sanderson Contemporary Art, Auckland, 2010.
IMPORTANT PAINTINGS & CONTEMPORARY ART
82. Katie Blundell Seated acrylic on canvas, 2003 signed K Blundell and dated 03 in brushpoint lower right 1000mm x 1000mm $800 — $1,200
83. Hana Carpenter Domestic Evacuation 3 oil on board, 2007 initialled HC and dated '07 in brushpoint lower right 603mm x 603mm $600 — $800
84. Catherine Outwin Hidden Meanings mixed media on board, 2005 signed Catherine Outwin, dated 2005, inscribed Hidden Meanings verso 900mm x 900mm $500 — $1,000
PROVENANCE Art Capers Collection. Purchased Morgan St Gallery, Auckland, 2007.
PROVENANCE Art Capers Collection. Purchased The Lane Gallery, Auckland, 2008.
PROVENANCE Art Capers Collection.
85. Cristina Popovici Red Page mixed media on canvas artist's name, title and date on SOCA Gallery label affixed verso 760mm x 760mm $2,000 — $3,000
86. Cristina Popovici Blue Page mixed media on canvas artist's name, title and date on SOCA Gallery label affixed verso 760mm x 760mm $2,000 — $3,000
PROVENANCE Art Capers Collection. Purchased SOCA Gallery, Auckland, 2008.
PROVENANCE Art Capers Collection. Purchased SOCA Gallery, Auckland, 2008.
— Pg. 91
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87. Euan MacLeod Smoked Out oil on canvas signed Euan MacLeod, inscribed Smoked Out and dated 2004 in brushpoint verso, original Niagara Galleries, Richmond, Australia label affixed verso 1200mm x 700mm $10,000 — $15,000
Pg. 92 —
88. McLean Edwards Head. #2 oil on board signed McLean, inscribed Head. #2 and dated 2003 in ink verso, original Martin Browne Gallery, Australia label affixed verso 1100mm x 1100mm $8,000 — $12,000 EXHIBITED 'Down and Dirty For the Lord', Martin Browne Fine Art, 9 July 2003.
IMPORTANT PAINTINGS & CONTEMPORARY ART
89. Seraphine Pick On/Off oil on stretched canvas, diptych 2002 signed S. Pick and dated 2002 in brushpoint lower right 405mm x 610mm $8,000 — $10,000
90. Jacqueline Fraser Suite of Twenty Two Drawings pastel and graphite on coloured paper, 2002 signed Jacqueline Fraser, dated 22–01–2002 on each sheet in pen or graphite, inscribed in ink or graphite on each sheet 295mm x 210mm (individual sheet size) $4,000 — $6,000
— Pg. 93
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91. Han Nae Kim Lock charcoal on aluminium original SOCA gallery label verso 307mm x 307mm $700 — $1,500
92. Jo Blogg Thirty—Road Sign Mandala acrylic on retired speed limit sign initialled and dated 08 in brushpoint verso 750mm diameter $1,000 — $2,000
93. Frances Van Dammen Untitled acrylic and high gloss varnish on hardboard signed F van Dammen in brushpoint verso 1000mm x 1000mm $1,000 — $2,000
PROVENANCE Art Capers Collection. Purchased SOCA Gallery, Auckland, 2008.
PROVENANCE Art Capers Collection.
PROVENANCE Art Capers Collection.
94. Alan Wolfgramm Maorilyn oil on canvas, 2007 inscribed Maorilyn in brushpoint lower left, signed Wolfie and dated '07 in ink verso 915mm x 610mm $1,000 — $1,500 PROVENANCE Art Capers Collection.
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95. Yoshiko Nakahara Wreath ink on paper signed Yosi in ink lower right 410mm x 297mm $1,500 — $2,000
96. Matthew Carter Urban Park oil on canvas signed Matthew Carter in ink verso 1205mm x 1205mm $1,000 — $2,000
PROVENANCE Art Capers Collection.
PROVENANCE Art Capers Collection.
IMPORTANT PAINTINGS & CONTEMPORARY ART
97. Sylvia Siddell Oranges oil on canvas, 2001 signed Sylvia Siddell and dated 2001 lower right in brushpoint; inscribed Oranges verso 405mm x 510mm $1,000 — $2,000 PROVENANCE Art Capers Collection.
100. Josephine Cachemaille Sentinal acrylic on board, 2013 signed J. Cachemaille, inscribed Sentinal and dated 2013 in felt tip verso 370mm x 255mm $1,000 — $1,500 PROVENANCE Art Capers Collection.
98. Sue Bancroft Triptych Leaves acrylic on canvas, 2007 signed Sue Bancroft and dated '07 lower left on each panel; original artist's label affixed verso 505mm x 605mm $300 — $500
99. Alan Taylor Maungawhau acrylic on canvasboard signed A Taylor in brushpoint lower centre, inscribed Maungawhau, signed Taylor on paper affixed verso 150mm x 195mm $500 — $700
PROVENANCE Art Capers Collection. Purchased Morgan St Gallery, Auckland 2007.
PROVENANCE Art Capers Collection.
101. Donna Demente Mary Xmas 06 — Rose Veil acrylic on cotton on canvas, 2006 signed Demente and dated '06 on right margin; titled Mary, Xmas '06 — Rose Veil, signed Demente and dated 06 verso; original SOCA Gallery label attached verso 305mm x 230mm $1,000 — $2,000 PROVENANCE Art Capers Collection. Purchased SOCA Gallery, Auckland, 2007.
102. Rebecca Meyer My Mama She's a Superhero acrylic on canvas signed Rebecca Meyer in brushpoint lower right, title inscribed verso 1215mm x 910mm $1,500 — $2,500 PROVENANCE Art Capers Collection. Purchased NKB Gallery, Auckland, 2009.
— Pg. 95
MOSSGREEN-WEBB’S AUCTION HOUSE
Our Specialists
Fine Art Sophie Coupland | Director of Art | sophie.coupland@mossgreen-webbs.co.nz Sophie Coupland has 20 years of experience in the sale and marketing of fine art. Her long-standing marketbased knowledge, together with significant business and commercial achievements, positions her as one of New Zealand’s most experienced fine art professionals. Sophie has a broad knowledge of New Zealand art history with specialist expertise in modern and contemporary practice.
Briar Williams | Art Department Manager | briar.williams@mossgreen-webbs.co.nz Briar Williams is an experienced and respected art valuer and auctioneer, having worked in both auctions and galleries in New Zealand and Australia for 13 years. Briar was the Head of Art at Leonard Joel, one of the oldest auction houses in Australia, where she oversaw a period of rapid growth in the art department. Briar holds a Bachelor of Arts degree in Art History from The University of Auckland and a Postgraduate Diploma from Sotheby's Institute, London.
Kate Srzich | Registrar | kate.srzich@mossgreen-webbs.co.nz Kate Srzich has more than fifteen years experience working in the Fine Art sector in New Zealand. Formerly the buyer and retail manager of the Pah Gallery Shop at the TSB Bank Wallace Arts Trust, Kate has a comprehensive knowledge of contemporary New Zealand ceramics, jewellery and glass. She was Gallery Manager at leading dealer gallery Ferner Galleries, between 2000 and 2003, where she handled the resale of nineteenth century works through to contemporary art. Kate joins Mossgreen-Webb’s as the Registrar for the Fine Art Department.
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IMPORTANT PAINTINGS & CONTEMPORARY ART
Single-Owner Collections Paul Sumner | CEO / Single-Owner Collections | paul.sumner@mossgreen.com.au Paul is a respected specialist in the fields of Australian art, Chinese and Asian arts and European design, antiques and art. He has 30 years of experience working in the art and antiques industry with international and Australian auction houses. Paul is CEO of Mossgreen, which is now Australia’s largest multi-departmental auction house and, since the acquisition of the former Webb’s auction house in New Zealand, the company is now run as a trans-Tasman regional business.
James Hogan | Single-Owner Collections | james.hogan@mossgreen-webbs.co.nz James is one of New Zealand’s most experienced specialist valuers and appraisers. He has provided almost three decades of service to the growth and development of Webb’s as New Zealand’s leading auction house. James has been involved in many of Webb’s most successful auctions over the years, in a variety of departments, and holds a record for the highest price for a decorative arts item sold at auction in New Zealand.
Peter Downey | Consultant Peter was a founding director of the Webb’s jewellery department in the 1980s, and has 44 years of market experience. He is one of New Zealand’s most experienced jewellery and antique and oriental specialists. Peter has a comprehensive knowledge of all materials and styles, and his specialist areas include Castellani, Giuliano, Fabergé, Cartier, art nouveau and art deco.
Murdoch McLennan | Consultant Murdoch joined Webb’s in 1986 as the Antiques Manager and he created many auction records including a record price for an Anton Seuffert Bonheur du Jour. Since leaving Webb’s, he has been running Murdoch McLennan Antiques, which today continues to be one of the few remaining successful antique shops in New Zealand. He specialises in 18th and 19th-century furniture, porcelain and silver.
Caolán McAleer | Single-Owner Collections | caolan.mcaleer@mossgreen-webbs.co.nz Caolán holds a Bachelor of Arts in Media, Cultural Studies and Marketing from John Moores University in Liverpool and has a background in sales and marketing. Caolán brings to Mossgreen-Webb’s his experience working in the Fine Art department of Gormleys, one of Ireland’s leading commercial art galleries and auction houses.
— Pg. 97
MOSSGREEN-WEBB’S AUCTION HOUSE
Fine & Rare Wines Reece Warren | Head of Fine & Rare Wines | reece.warren@mossgreen-webbs.co.nz Reece brings to Mossgreen-Webb’s over 25 years in the industry, encompassing grape growing, sales, marketing and vineyard management. Reece’s international experience includes three years based in England studying and doing vintage in France. He holds a Diploma of Wine (Wine & Spirit Trust Education Trust, England).
Fine Jewels & Watches Patti Sedgwick | Head of Jewellery | patti.sedgwick@mossgreen-webbs.co.nz A registered jewellery appraiser, gemmologist and diamond grader with over 20 years of industry experience, Patti brings a wealth of expertise to the Fine Jewels & Watches department at Mossgreen-Webb’s. Patti has previously headed up Fine Jewellery departments at Sotheby’s Australia and Bonhams and conducted many highly successful auctions in Melbourne and Sydney.
Chinese & Asian Art Ray Tregaskis | Head of Chinese & Asian Art | ray.tregaskis@mossgreen.com.au Ray began collecting Asian art in Europe in 1975 and opened his first gallery in Sydney in January 1979. Ray and his partner, Victoria, have travelled extensively throughout Asia and Europe over the past 30 years, holding many exhibitions nationally and internationally with Ray also writing numerous articles on various aspects of Asian antiques. Ray is a long-standing member of the AAADA and a Valuer of Asian Art under the Cultural Gifts Scheme for the Commonwealth Government.
Luke Guan | Chinese & Asian Art Specialist | luke.guan@mossgreen.com.au Luke graduated from Christie’s Education in London and the University of Glasgow with a Master of Arts in Art History and Art World Practice with a major in Arts of China. He has worked with Chinese art since 2010: for Christie’s in London and Hong Kong, and for leading Hong Kong antiques gallery—Joyce Gallery—as a specialist and cataloguer.
Maori & Oceanic Arts Bill Evans | Head of Oceanic Art | bill.evans@mossgreen.com.au Bill has specialised in tribal art, antique rugs and Asian textiles in Sydney for more than 35 years. He graduated magna cum laude in History from the University of Minnesota and formerly ran the Caspian Gallery in Paddington, Sydney. Bill has been a frequent speaker to museum and textile groups through the years and has written articles on Oceanic and Aboriginal collections in Australian museums for the magazine Tribal Art, the international bible for tribal art enthusiasts.
Jesse De Deyne | Deputy Director of Australian Indigenous Art | jesse.dedeyne@mossgreen.com.au Jesse studied Art History and Business Management at The University of Queensland and combines his knowledge of both subjects in his role at Mossgreen-Webb’s. He has a long-standing passion for Australian indigenous art, and has spent time volunteering at the Maningrida Art & Culture centre and Bula’bula Arts centre in Arnhem Land, as well as in the Kimberley region. Pg. 98 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Collectors’ Cars, Motorcycles & Automobilia Robert Richards | Head of Collectors’ Cars, Motorcycles & Automobilia | robert.richards@mossgreen.com.au Robert has more than 18 years’ experience within the auction industry both in Australia and North America. Robert became Collectors’ Cars, Motorcycles & Automobilia Specialist for Mossgreen’s newly formed department in 2014. Following two very successful auctions, the department expanded and Robert is now Head of Collectors’ Cars, Motorcycles and Automobilia.
Catherine Davison | Collectors’ Cars, Motorcycles & Automobilia | catherine.davison@mossgreen.com.au Catherine brings extensive industry experience to Mossgreen-Webb’s and her long-held international associations with some of the most highly respected leaders in engineering, motor sport and blue ribbon auction houses brings a unique cross-section of experience to Mossgreen-Webb’s Collectors’ Cars, Motorcycles & Automobilia Department.
Ian Nott | Consultant, Collectors’ Cars, Motorcycles & Automobilia | motoring@mossgreen-webbs.co.nz Ian has a classic car background encompassing more than 30 years. Such experience has been honed over the United States, United Kingdom, Europe, Australian and Asian markets with a pronounced level of familiarity, making major contributions to businesses in these regions. Ian is an enthusiast in his own right and has a significant car collection, motor literature and automobilia library.
International Decorative Arts Jennifer Gibson | Head of Decorative Arts | jennifer.gibson@mossgreen.com.au Jennifer is a well-respected furniture and decorative arts specialist, valuer and auctioneer with a wide-ranging knowledge of her field. Her expertise includes English, Australian and Continental furniture, ceramics, glass, sculpture and silver and is coupled with a keen interest in Asian works of art, including Japanese ceramics and textiles.
Sandy Bruce | Senior Specialist, Decorative Arts | sandy.bruce@mossgreen.com.au Sandy is well respected in the industry, having worked at Sotheby’s in the United Kingdom and Australia for more than 30 years. Sandy has been involved in the sale of some of the most important decorative arts collections in Australia including The David Lawrence Collection and The John Weller Collection of Oriental & Decorative Art.
Sporting Memorabilia Max Williamson | Head of Sporting Memorabilia | max.williamson@mossgreen.com.au Max began his career in collectables when Stanley Gibbons Ltd opened an office in Melbourne in 1979, specialising in rare stamps and postal history. He trained in London, spending time with the rare stamps, auctions, publishing, maps and scripophily (old bonds and share certificates) departments. After 15 years, he joined Leski Auctions in 1994, and helped to introduce and grow the sports and general memorabilia auctions.
— Pg. 99
MOSSGREEN-WEBB’S AUCTION HOUSE
Stamps & Postal History Torsten Weller | Head of Stamps & Postal History | gary.watson@mossgreen.com.au Educated at Camberwell Grammar & Monash University BA, LLB (Hons), Torsten worked as a solicitor early in his career. He became Manager of Status Stamp Retail, Sydney in 1992 and in 1995 established his own collectables business specialising in Stamps, Postal History and Picture Postcards. Torsten brings many years of experience and a loyal client base with him to Mossgreen.
Charles Leski | Deputy Chairman/Philately & Historical Memorabilia | charles.leski@mossgreen.com.au Charles established Leski Auctions in 1973. Initially focusing on Philately, the company soon diversified into other collecting fields including Sporting Memorabilia, Coins and Banknotes, Cameras and Photography, Australiana, Historical Documents and Letters, and other collectables. Charles became established as a leading authority in the field of collectables in Australia and, by 2013, the company was conducting 20 auctions a year with extensive buyer participation from interstate and overseas. Since amalgamating with Mossgreen, Charles role has changed; he now travels extensively, meeting potential vendors and is often the first point of contact for clients wishing to consign across a wide range of categories.
Gary Watson | Senior Specialist, Stamps & Postal History | gary.watson@mossgreen.com.au Gary has been a professional philatelist since 1979. As proprietor of Prestige Philately, he earned a reputation as one of the most innovative and respected stamp auctioneers in the world. A passionate collector since childhood, Gary has formed several significant/important collections of stamps, postmarks, postal history, postal stationery and philatelic literature. He has been a successful exhibitor and is a qualified National Judge in three disciplines.
Coins & Banknotes Nick Anning | Head of Coins & Banknotes
| nick.anning@mossgreen.com.au
Nick has been a collector of stamps and coins since childhood, with a focus on stamps from Great Britain. He worked in a variety of non-philatelic roles in the United Kingdom, France and Spain before settling in Australia in 1999. Nick worked for Prestige Philately for eight years before joining Mossgreen as Stamps & Coins Specialist in 2014. He is a member of The Royal Philatelic Society of Victoria and Great Britain Philatelic Society.
Consultants Brian Wood | Consultant, Wellington
| brian.wood@mossgreen-webbs.co.nz
Formerly one of the lead valuers at Webb’s, Brian has a sound knowledge of New Zealand art and all collecting genres including antiques and studio ceramics. Brian is available to provide market appraisals for Wellington and lower North Island collectors.
Pg. 100 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Terms and Conditions
For Terms & Conditions specific to Philatelic / Numismatic auctions, please see online. The terms and conditions of sale listed here contain the policies of Mossgreen-Webb’s Ltd. They are the terms on which Mossgreen-Webb’s Ltd and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms. 1. Background to the Terms used in these Conditions The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows: “the Buyer” means the person with the highest bid accepted by the Auctioneer. “the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue. “the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot. “the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price. “the Reserve” means the lowest amount at which Mossgreen-Webb’s has agreed with the Seller that the lot can be sold. “Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Mossgreen-Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Mossgreen-Webb’s). All values expressed in Mossgreen-Webb’s Ltd catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified. 2. Mossgreen-Webb’s Auctions as Agent Except as otherwise stated Mossgreen-Webb’s Ltd acts as agent for the Seller. The contract for the sale of the property is therefore made between the Seller and the Buyer. 3. Before the Sale Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Mossgreen-Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below. The property is otherwise sold “AS IS” Catalogue and Other Descriptions All statements by Mossgreen-Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Mossgreen-Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or it’s value for any other purpose. Neither Mossgreen-Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.
— Pg. 101
MOSSGREEN-WEBB’S AUCTION HOUSE
Images are measured height by width (sight size). Illustrations are provided
highest bids on that lot, then the lot will be sold to the person whose written
only as a guide and should not be relied upon as a true representation of
bid was received and accepted first. Execution of written bids is a free
colour or condition. Images are not shown at a standard scale. Mention is
service undertaken subject to other commitments at the time of the sale
rarely made of frames (which may be provided as supplementary images
and we do not accept liability for failing to execute a written bid or for errors
on the website) which do not form part of the lot as described in the
or omissions which may arise. It is the bidder’s responsibility to check with
printed catalogue.
Mossgreen-Webb’s after the auction if they were successful. Unlimited or
An item bought “on Extension” must be paid for in full before it will be
“Buy” bids will not be accepted.
released to the purchaser or his/her agreed expertising committee or
Telephone Bids
specialist. Payments received for such items will be held “in trust” for up to
Priority will be given to overseas and bidders from other regions. Please refer
90 days or earlier, if the issue of authenticity has been resolved more quickly.
to the catalogue for the Telephone Bids form. Arrangements for this service
Extensions must be requested before the auction.
must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing.
Foreign buyers should note that all transactions are in New Zealand dollars so
Mossgreen-Webb’s accepts no responsibility whatsoever for any errors or
there may be a small exchange rate risk. The costs associated with acquiring
failure to execute bids. In telephone bidding the buyer agrees to be bound
a good opinion or certificate will be carried by the purchaser. If the item turns
by all terms and conditions listed here and accepts that Mossgreen-Webb’s
out to be forged or otherwise incorrectly described, all reasonable costs
cannot be held responsible for any miscommunications in the process. The
will be borne by the vendor.
success of telephone bidding cannot be guaranteed due to circumstances
Buyers Responsibility
that are unforeseen. Buyers should be aware of the risk and accept the
All property is sold “as is” without representation or warranty of any kind
consequences should contact be unsuccessful at the time of Auction. You
by Mossgreen-Webb’s or the Seller. Buyers are responsible for satisfying
must advise Mossgreen-Webb’s of the lots in question and you will be
themselves concerning the condition of the property and the matters referred
assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve)
to in the catalogue by requesting a condition report.
for all such lots. Mossgreen-Webb’s will advise Telephone Bidders who have
No lot to be rejected if, subsequent to the sale, it has been immersed in liquid
registered at least 24 hours before the auction of any relevant changes to
or treated by any other process unless the Auctioneer’s permission to subject
descriptions, withdrawals or any other sale room notices.
the lot to such immersion or treatment has first been obtained in writing.
Online Bidding
4. At the Sale
Mossgreen-Webb’s offers an online bidding service. When bidding online
Refusal of Admission
the buyer agrees to be bound by all terms and conditions listed here by
Mossgreen-Webb’s reserves the right at our complete discretion to refuse
Mossgreen-Webb’s.
admission to the auction premises or participation in any auction and to
Mossgreen-Webb’s accepts no responsibility for any errors, failure to execute
reject any bid.
bids or any other miscommunications regarding this process. It is the online
Registration Before Bidding
bidder’s responsibility to ensure the accuracy of the relevant information
Any prospective new buyer must complete and sign a registration form and
regarding bids, lot numbers and contact details. Mossgreen-Webb’s does not
provide photo identification before bidding. Mossgreen-Webb’s may request
charge for this service.
bank, trade or other financial references to substantiate this registration.
Reserves
Bidding as a Principal
Unless otherwise indicated, all lots are offered subject to a reserve, which
When making a bid, a bidder is accepting personal liability to pay the
is the confidential minimum price below which the Lot will not be sold.
purchase price including the buyer’s premium and all applicable taxes, plus
The reserve will not exceed the low estimate printed in the catalogue. The
all other applicable charges, unless it has been explicitly agreed in writing
auctioneer may open the bidding on any Lot below the reserve by placing a
with Mossgreen-Webb’s before the commencement of the sale that the
bid on behalf of the Seller. The auctioneer may continue to bid on behalf of
bidder is acting as agent on behalf of an identified third party acceptable
seller up to the amount of the reserve, either by placing consecutive bids or
to Mossgreen-Webb’s and that Mossgreen-Webb’s will only look to
by placing bids in response to other bidders.
the principal for payment.
Auctioneers Discretion
International Registrations
The Auctioneer has the right at his/her absolute and sole discretion to refuse
All International clients not known to Mossgreen-Webb’s will be required
any bid, to advance the bidding in such a manner as he/she may decide, to
to scan or fax through an accredited form of photo identification and pay a
withdraw or divide any lot, to combine any two or more lots and, in the case
deposit at our discretion in cleared funds into Mossgreen-Webb’s account
or error or dispute and whether during or after the sale, to determine the
at least 24 hours before the commencement of the auction. Bids will not
successful bidder, to continue the bidding, to cancel the sale or to reoffer and
be accepted without this deposit. Mossgreen-Webb’s also reserves the
resell the item in dispute. If any dispute arises after the sale, then Mossgreen-
right to request any additional forms of identification prior to registering
Webb’s sale record is conclusive.
an overseas bid.
Successful Bid and Passing of Risk
This deposit can be made using a credit card, however the balance of any
Subject to the auctioneer’s discretion, the highest bidder accepted by
purchase price in excess of $5,000 cannot be charged to this card without
the auctioneer will be the buyer and the striking of his hammer marks the
prior arrangement.
acceptance of the highest bid and the conclusion of a contract for sale
This deposit is redeemable against any auction purchase and will be
between the Seller and the Buyer. Risk and responsibility for the lot (including
refunded in full if no purchases are made.
frames or glass where relevant) passes immediately to the Buyer.
Absentee Bids
Indicative Bidding Steps, etc.
Mossgreen-Webb’s will use reasonable efforts to execute written bids
Mossgreen-Webb’s reserves the right to refuse any bid, withdraw any lot from
delivered to us AT LEAST 24 Hours before the sale for the convenience of
sale, to place a reserve on any lot and to advance the bidding according to
those clients who are unable to attend the auction in person. If we receive
the following indicative steps:
identical written bids on a particular lot, and at the auction these are the
Pg. 102 —
IMPORTANT PAINTINGS & CONTEMPORARY ART
Increment Amount
Dollar Range
$20
$0—$500
$50
$500—$1,000
$100
$1,000—$2,000
$200
$2,000—$5,000
$500
$5,000—$10,000
$1,000
$10,000—$20,000
$2,000
$20,000—$50,000
$5,000
$50,000—$100,000
$10,000
$100,000—$200,000
$20,000
$200,000—$500,000
If the Buyer fails to make full payment immediately, Mossgreen-Webb’s is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law) • to charge interest at such a rate as we shall reasonably decide. • to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.
$50,000
$500,000—$1,000,000
• to cancel the sale. • to resell the property publicly or privately on such terms as we see fit. • to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Mossgreen-Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount. • to set off against any amounts which Mossgreen-Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer. • where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs. • to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids. • to exercise all the rights and remedies of a person holding security over any
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid. 5. After the Sale Buyers Premium In addition to the hammer price, the buyer agrees to pay to MossgreenWebb’s the buyer’s premium. The buyer’s premium is 17.5% of the hammer price plus GST. (Goods and Services Tax) where applicable. Payment and Passing of Title The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 5 days after the auction date. The buyer will not acquire title to the lot until Mossgreen-Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas. Payment can be made by direct transfer, cash (not exceeding NZD$10,000, if wishing to pay more than NZD$10,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Personal cheques are accepted, but funds must be cleared before goods will be released. Bank cheques are subject to five days clearance. The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Mossgreen-Webb’s account. Collection of Purchases & Insurance Mossgreen-Webb’s is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds. Subject to this, the Buyer shall collect purchased lots within 5 days from the date of the sale unless otherwise agreed in writing between Mossgreen-Webb’s and the Buyer. At the fall of the hammer, insurance is the responsibility of the purchaser. Packing, Handling and Shipping Mossgreen-Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Mossgreen-Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser. Permits, Licences and Certificates Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.
property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us. • to take such other action as Mossgreen-Webb’s deem necessary or appropriate. If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Mossgreen-Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. Failure to Collect Purchases Where purchases are not collected within 5 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us. 6. Extent of Mossgreen-Webb’s Liability Mossgreen-Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph. 7. Limited Warranty Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.
Remedies for Non-Payment — Pg. 103
MOSSGREEN-WEBB’S AUCTION HOUSE
The warranty is subject to the following:
14. Jewels & Watches
it does not apply where a) the catalogue description or saleroom notice
GEMSTONES
corresponded to the generally accepted opinion of scholars and experts at
Gemstones have historically been subjected to a variety of treatments to
the date of the sale or fairly indicated that there was a conflict of opinions,
enhance their appearances. Sapphires and rubies are routinely heat treated
or b) correct identification of a lot can be demonstrated only by means of a
to improve their colour and clarity, similarly emeralds are frequently treated
scientific process not generally accepted for use until after publication of the
with oils or resin for the same purpose. Other treatments such as staining and
catalogue or a process which at the date of the publication of the catalogue
dyeing, irradiation, filling or coating may have been used on other precious
was unreasonably expensive or impractical or likely to have caused
and semi-precious gemstones and organic material. These treatments may be
damage to the property.
permanent, whilst others may need special care to preserve their appearance.
The benefits of the warranty are not assignable and shall apply only to
Buyers should assume that each lot has been subject to some form of
The original buyer of the lot as shown on the invoice originally issued by
treatment and that the estimates reflect this.
Mossgreen-Webb’s when the lot was sold at Auction.
A number of laboratories issue certificates that give detailed descriptions
the Original Buyer must have remained the owner of the lot without disposing
of gemstones, and in the event that Mossgreen-Webb’s has been supplied
of any interest in it to any third party.
with or obtained certificates for any lot, this shall be noted in the catalogue.
The Buyer’s sole and exclusive remedy against the Seller in place of any
However, as there may not be consensus between different laboratories
other remedy which might be available, is the cancellation of the sale and the
on the degree, or types of treatment of the gemstones Mossgreen-Webb’s
refund of the original purchase price paid for the lot less the buyer’s premium
supplies these without warranty.
which is non-refundable. Neither the Seller nor Mossgreen-Webb’s will be
PEARLS
liable for any special, incidental nor consequential damages including, without
Pearls, like gemstones, can also be subjected to various treatments. Buyers
limitation, loss of profits.
should assume that any pearls sold by Mossgreen-Webb’s may have been
The Buyer must give written notice of claim to us within thirty days of the
subjected to such treatments, and that the catalogue estimates reflect this.
date of the Auction. The Seller shall have the right, to require the Buyer to
WATCHES
obtain two written opinions by recognised experts in the field, mutually
Please note: All watches sold by Mossgreen-Webb’s are sold on an “as is”
acceptable to the Buyer and Mossgreen-Webb’s to decide whether or not
basis. Mossgreen-Webb’s makes no representation or warranty that any watch
to cancel the sale under warranty.
is in working order. Many watches have been repaired over their lifetime
The Buyer must return the lot to Seller in the same condition that it
and may contain non-original parts. The absence of any reference to the
was purchased.
condition of a watch does not imply that the lot is in good condition and
8. Severability
without defects, repairs or restorations. Buyers should be aware that a general
If any part of these Conditions of Sale is found by any court to be invalid,
service charge for battery or further repair work, for which the Buyer is solely
illegal or unenforceable, that part shall be discounted and the rest of the
responsible, may be necessary.
Conditions shall continue to be valid to the fullest extent permitted by law.
ESTIMATED WEIGHTS
9. Copyright The copyright in all images, illustrations and written material produced by Mossgreen-Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Mossgreen-Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Mossgreen-Webb’s and the Seller make no representation or
If a stone has a known weight, it has been weighed out of the mount. If a stone has an estimated weight, it is an approximate weight only and has been measured by us in the mount and is a statement of opinion only. The information is given as a guide only and Buyers should satisfy themselves with regard to this information as to its accuracy.
warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it. 10. Law and Jurisdiction These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated. 11. Pre-Sale Estimates Mossgreen-Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Mossgreen-Webb’s prior to auction for updated pre-sale estimates and starting prices. 12. Sale Results Mossgreen-Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.mossgreen-webbs.co.nz. 13. Goods and Service Tax GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium. Overseas buyers and buyers non-resident in New Zealand will not be charged GST on both hammer price and premiums under the following conditions: The items are exported through a Mossgreen-Webb’s approved freight company including New Zealand Post The items are exported within 60 days of the date of the sale The invoice supplied by Mossgreen-Webb’s for purchases will be regarded as a Tax invoice for GST purposes.
Pg. 104 —
BACK COVER
Lot 28 Andrew McLeod Painter Silhouette $40,000 — $65,000
IMPORTANT PAINTINGS & CONTEMPORARY ART
Index of Artists
Aberhart, Laurence
39, 40 – 43, 45, 47
Hurley, Gavin
13
Amsel, Galia
66
Killeen, Richard
8
Armstrong, Eve
49
Kim, Clare
78
Art and Language
73
Kim, Han Nae
91
Bancroft, Sue
98
Larkin, Peata
57
Barber, Kathy
56
MacLeod, Euan
87
Barnes-Graham, Andrew
14, 53
Madden, Peter
6
Bensemann, Leo
25, 26, 27
Matchitt, Paratene
7
Binney, Don
21
McCahon, Colin
31, 32
Blogg, Jo
92
McGorry, Brendan
54
Blundell, Katie
82
McLeod, Andrew
10, 28
Blyth, Andrew
59
McRae, Louise
79
Bush, Kushana
11
Meyer, Rebecca
102
Cachemaille, Josephine
100
Mitchell, Sam
1
Carpenter, Hana
83
Nakahara, Yoshiko
95
Carter, Matthew
96
Nakahara, Yoshiko and Shintaro
4
Ching, Raymond
37, 38
Outwin, Catherine
84
Dashper, Julian
19, 20
Parekowhai, Michael
24
Day, Melvin
75
Parkes, Miranda
17
Demente, Donna
101
Paterson, Reuben
35
Denny, Simon
33
Patterson, P J
81
Edwards, Lianne
5
Peryer, Peter
46, 48
Edwards, McLean
88
Pick, Seraphine
89
Elliot, Thomas
55
Popovici, Cristina
85, 86
Et Al
52
Robinson, Peter
64
Farquhar, Nicola
67
Schoon, Theo
44
Fletcher, Graham
2, 3
Siddell, Sylvia
97
Fomison, Tony
29
Stringer, Terry
9
Fraser, Jacqueline
77, 90
Tapper, Garth
22, 74, 76
Frizzell, Dick
12
Taylor, Alan
62, 63, 99
George, Darryn
36
Todd, Yvonne
50
Gimblett, Max
18
Tole, Charles
23
Goldie, Charles Frederick
30, 34
Trubridge, David
65
Good, Roy
69, 70
Van Dammen, Frances
93
Harrison, Michael
15
van den Eijkel, Leon
71, 72
Hotere, Ralph
60
Wall, Nick
58
Hotere, Ralph and Mary McFarlane
61
Wealleans, Rohan
51, 68
Hughes, Sara
16
Wolfgramm, Alan
94
Wolfgramm, Glen
80
— Pg. 105
Important Paintings & Contemporary Art